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LIBRARIES

Nov 25 1953

AREMITECTURE LIBRARY

november 1953 | 25 cents

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Art Director & Studio News / November 1953

HAROLD MARCHANT is a
versatile artist who

draws in color,

black and white and line.
He excels in

scratchboard rendering

of both figures and
mechanical subjects.

Advertising Art
136 E. 57th St.

New York 22, N. Y.
Plaza 3-6880

Sales Representatives

Roy Deming
Nino Giarratano
John Hickler
Edward Moclair
Jack Randall
Richard Schwarz

Thomas Whitmore

The Technigraphic Company
2016 Walnut St.
Philadelphia 3, Pa.

LOcust 4-4870

Fred Kopp Advertising Art Studio
301 So. Harvard Blvd.

Los Angeles, Calif.

DUnkirk 9-3118

Another

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service

-_ > oer car & ce Beets oe Oe 6

OFFICIAL PUBLICATION OF NATIONAL SOCIETY OF ART DIRECTORS

Wallace W. Elton, New York, President. Arthur Lougee, Detroit, Vice President. William
Miller, Chicago, Vice President. Cecil Baumgarten, New York, Secretary-Treasurer.

NSAD Headquarters: 115 East 40th Street, New York 16, N. Y.

VOLUME V, NUMBER 8

IT MAY NOT BE THE HARD SELL AFTER ALL
DON BARRON

Two or three years ago, whenever art professionals discussed
their probable hard sell efforts in the buyer’s market to come,
few ever imagined one format which seemingly is setting the
pace for late 1953.

The immediate origin is in the successful editorial treatment
developed by Hewitt, Ogilvy, Benson & Mather for a group of
advertisers particularly interested in the upper income leve's
such as Hathaway shirts, Viyella fabrics and England’s Travel
Association. The elements are easily recognizable: An outside
bleed, color photograph; remarkable unadvertising-appearance
of the subject photographed; the relatively small amount of
informative copy slanted away from impossible claims; the
editorial type caption set as small as 18 pt.; and the text set
double column in a traditional text type face such as Caledonia
or Garamond.

The aim was obvious—to get a magazine’s proven readership
and acceptance for a very clever substitution of editorial mate-
rial. Their technique revitalized an interest in editorial type
ads. From this has come many variations, but few as historically
interesting as an all-type advertisement which appeared this
Spring for Procter & Gamble. Soap firms are not noted for
setting the pace. Nor are they noted for understating their
claims. But here was an insertion which said little more than
that P & G after many years in business, was pretty good at
making soaps and detergents. The typography was, if anything,
crude, and the absence of a housewife grinning from ear to ear
over her white, white, white stuff was a shock in itself.

Since then the typography has been cieaned up a bit and art
added here and there.

Intentional or not, these elements—typography, little or no
art, and short informative copy marked a highly original varia-
tion by HOBM for the broadcast of all mass markets, soap. The
techniques must be effective because most Fall issues carry a
sizeable proportion of insertions which, although based on the
editorial style, go far beyond the original pattern. Chrysler,
having already gone its own independent postwar way, now
comes up with an intricate format which neither looks like an
ad nor an editorial feature. Just as P & G omitted the grinning
housewife, Chrysler shows the back end of a car so small it can
hardly be identified. And most of the copy is devoted to Cali-
fornia mountain roads.

Old Overholt has a double spread, the left page being a true
editorial type ad, B&W, about one of its earliest sheet posters.
The right hand page, full color, carries the sales message.
Rinso’s “How to...” series is almost straight editorial, both
in appearance and content. Cannon is running a very busy pix
and caption double spread, the kind ord narily used for the

(Continued on page 103)

Art Director & Studio News / November 1953

CONTENTS

THIS MONTH November, 1953
The Quinsy Report 16
Dear Bill: 22
Chicago’; Show 44
Case History, Magazine Redesign 58
Decca Record Albums 60
Chicago’s Studios 63
Trends in Greeting Cards 64
Chicago’s Poster Shows 66
Display. Design & Production 68
TV Animation 70
Upcoming Photographer 72
Preduction News 73
Pocket Book Art 80

EVERY MONTH

Tax Talk
Business Briefs
Letters

AD&S News
Trade Talk
Bookshelf
Classified

Ready Reference

Publisher, Donald Barron
Editor, Edward Gottschall Designer, Ken Saco
Advt. Manager, L. H. Bremer Ass't Editor, Dorothy Chapple

Associate Editors

Robert B. Connolly, Minneapolis
Harry Steinfield, Montreal

Harald Torgesen, Atlanta
DeWitt Battams, Baltimore
Thomas Baker, Boston James Patterson, Nashville
Dan Smith, Chicago Wm. R. Morrison, New York
Richard F. Koppe, Cincinnati W. Frederic Clark, Philadelphia
Parker J. Heck, Cleveland Fayette Harned, Rochester
Robert Roadstrum, Detroit Tom Yamada, San Francisco
Thor Hauge, Los Angeles Hal Peterson, Seattle

Eric Aldwinckle, Toronto

Art Director & Studio News, published monthly by Art Director
& Studio News, 43 E, 49 St., New York 17, N. Y. Piaza 9- b
Subscription price $2.00 per year; $3.50 for two years. $2.25 a
year for Canada and other countries. Back issues 30c per copy.
Publisher assumes no responsibility for manuscripts or artwork
submitted. Copyright 1953. Entered as second-class matter at
the post office at New York, N. Y.

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tax talk

Art Director & Studio News

MAXWELZi LIVSHIN, C. P. A.

@. Is there a limit to the amount of

rent that an owner of leased art
studio premises can charge his own
company ?

Sometimes the Tax Court places a
limit. In a recent case, a large
monthly rental was paid by an art
studio corporation to its president
(who was the lessor, as well as
owner of 90% of the corporation’s
capital stock). The Tax Court held
that the payment was excessive and
not deductible in the amount the
rental exceeded the terms of the
original lease prior to the purchase
of the premises by the president.

Where an artist’s studio is sold, and
soon thereafter repurchased, is
there a profit?

In a recent case, the Tax Court
ruled that, even though the price
paid for a one-half interest in an
agency was identical to the price
at which it was sold, the sale and
repurchase involved different things
since the assets and the clientele
had changed in the meantime.

Does the transfer of an illustrator’s
exclusive contract result in a sale?

No. In a recent decision, the Court
ruled that the transfer of this type
of contract by an agent to an agency
did not result in a sale and ordered
that one-half of the
received by the agent and paid to
the agency, pursuant to the trans-
fer agreement, be reported as ordi-
nary income rather than long term
capital gain.

commissions

Are bank records open to a Revenue
Agent for a “fishing expedition” ?

Bank
not available to a Revenue Agent
for tax exploration purposes. How-
ever, where there is a_ likelihood
that the bank’s records may have a
bearing on the tax liability of the
taxpayer, the examination of this
information may be allowed,

records and statements are

November 1953

Mr. Popodopoulis
was amazed...

and DUN & BRADSTREET
was pleasantly surprised to say the
least when they won the “best of indus-
try award” of the Direct Mail Adver-

tising Association with this campaign.

Boyan & Weatherly studio hadn’t ex-
pected it either — we just worked with

;
q our usual “leave no stone unturned”

approach on this assignment — as we

do on every job.

Want to find out what a fresh approach
can do for you? It’s easy as picking
up the phone — JU-6-1870

Contact: George Lynch * Kenneth Powers © Gloria Orsenigo
Joseph Boyan * Goodhue Weatherly © Helen Hubel
For lilustration—
BOYAN A WEATHERLY, Inc.
15 West 46th St., New York 36, N. Y. @ Telephone: JU-6-1870-1874

it’s all covered in this great book — your most useful ‘idea file” of the year.

32ndANNUAL

ADVERTISING AND EDITORIAL ART
of the Art Directors Club of New York

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The one permanent record of outstanding achievement

Order from your bookseller or art dealer or direct from

the publishers:

VISUAL ARTS BOOKS

Farrar, Straus and Young, 101 Fifth Ave., New York 3

business briefs

1953’s hottest art market is Detroit. While
all ad art markets have plussed billings
over 1952, the motor city has outpaced
the field. In great part the increases
have emerged from the larger ad budg-
ets due to the stronger competition
for car sales. There is much encourage-
ment for all art professionals should
this pattern develop for other products
in or entering a buyer’s market.

Diversified advertisers have also been a boon
to Detroit. One major studio, for ex-
ample, exists independently on car art,
a feat wholly impossible just a few
years ago.

The local market has begun to make
progress in satisfying the demand for
illustrative art. However, the demand
for layouts still seems to be greater
than the supply. Detroit photography
is advancing more slowly than any
other section of the field.

In New York and Chicago September started
off slowly. After the 15th activity
picked up and by early October was
strong.

Advertising emphasis is shifting to soft goods.
The switch will become increasingly
noticeable in the months and year
ahead. Although manufacturers of
home appliances will try harder than
ever to sell, the average consumer is
pretty well stocked up with hard goods
that he has been buying furiously the
past few years. Soft goods manufac-
turers reason this is their chance to
get more of the consumer dollar and
are expected to intensify their adver-
tising and sales efforts accordingly.

Buying power, not production capacity, is now
the keynote to long term economic sta-
bility Government economists agree
with Lasser that buying power exists,
point out that making more of it
actual rather than potential can help
ward off the much talked of recession.
if industry and business buy this think-
ing, the long term outlook for adver-
using and ad art is good.

Countering any possible downward trend are
four favorable factors, cited by Swift
& Co. economists, Henry Arthur: big
birth rate and record youth generation;
continued huge demands for invest-
ment; government fiscal policy encour-
aging purchasing power; and competi-
tion for markets.

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Art Director & Studio News

/ November 1953

Still Life. . . Food Photography ~

TONI

12 East 42nd Street,

FICALORA

New York 17, N. Y. MUrray Hill 7-0356

To really button that creative art job down

see the Whitaker Guernsey Group

at 444 E. Ontario Street, Chicago, III.

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letters

Why worry about technique imitations —
it’s ideas that count!

Regarding the Dale Nichols article in
the August issue of Art Director &
Studio News:

Let’s face it! Commercial Art is
dedicated to “change,” monetary, es-
thetic and historical. Those of us who
make a living in this field, be he illus-
trator, Art Director, or layout man,
would do well to learn that if we con-
tinue to produce work that is no better
tomorrow than it is today we are
doomed to a short commercial life. Tie
very nature of the field demands new
slants and styles. That, in my opinion,
is the basic cause of plagiarism. Be-
cause of the never ending pace, we
have to cast about among publications
for ideas. We just can’t seem to keep
an Art Gallery in our clip file. When
we are inspired by published works, we
are apt to look no deeper into the art-
ist’s meaning than the superficial style.
If we ape this style we are only imtta-
tors. Thought is the basis of originality
coupled with much smudging and dood-
ling, not style alone, Any artist, of
whom it can be said, “he has a popu-
lar style,” should be aware that this
fact is apt to breed competition.

Fortunately, or unfortunately, de-
pending on which side of the cash
register you are standing, its omy
the ‘comers’ and third rate hacks who
imitate to the brush stroke, their id-ls.
They do not “catch on” until they bring
that elusive part of their personality to
their work that makes each artist have
a style. One should have a healthy fear
of them and accept the challenge their
imitation offers. No mere imitator can
compete with original thinking. No art-
ist, especially a popular one, can hope
to constantly paint Vermont, or pretty
girls, or ‘tear jerkers,’ to the exclusion
of every other subject without running
the risk of being copied. When style
and subject matter go hand-in-hand it
is a simple matter to imitate.

Style and technique seem to be ‘the
big thing’ today in all branches of art
schooling. The same can be said for
most art books that give instructions
from the type of breadboard to buy to
how to hold a pallette. The untried
artist can find, only through his own
experience, that to ‘be himself’ is the
shortest road to success. Also, it seems
that a part of today’s thinking is based
on imitation, for if Joe Blow can make
a success doing it that way, then any-

presented to
ROSS ART STUDIO

IN RECOGNITION OF THE IMPORTANT PART PLAYED IN THE CREATION OF
THE AWARD-WINNING DIRECT MAIL CAMPAIGN SUBMITTED BY

DIRECT MAR
ADVERTISING ASSOCIATION, UNION BAG AND PAPER CORPORATION
INC.
SAR PGA Gaul Koad
BOARD OF JUDGES Vi
& * GeNsTEN MENEY HOKE PAU PENFIELD
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IT’S GRAND
to be honored with a top award
to he serving top clients

to be staffed with top men

IT WOULD BE GRAND

to be serving you

RO Ss S&S

PZ ART
se Tupi oo,
5 Columbus Circle, New York 19, N. Y.
ClIrcle 7-1297

Art Director & Studio News November 1953

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letters

one who does it like Joe Blow is a
cinch for success.

The highly specialized (so-called)
studio and agency setups only add fuel
to the fire by attempting to satisfy a
client of questionable taste, when they
condone imitation. The reasons for this
may be many but two glaring ones
are lack of funds to pay the original
artist and the simple fact that he is too
busy with previous commitments to
accept the job. The dilemma, of course,
lies with selling the artist on style
alone. Style and ability do not neces-
sarily go hand-in-hand. When ability
means knowledge of subject matter then
this should be the main prerequisite.
Commercial Art is no better than the
talent that is available to produce it.

Have you ever heard of a fashion
designer who complained of imitators?
Imitators are his proof of success.
With him, each season it’s something
new and different, if only slightly so.
In like manner it might be said that
any artist who hangs his hat on a
changeless style should last only one
fashionable art season. The style may
sell the artist for awhile but it’s al-
ways been the idea that sells the art.
May it always be so!

Earl Barnett, AD, Associated Dis-
play Service, Chicago.

If something new has been added

If “Something New Has Been Added”
then I’m all for “plagarism.” After all
it’s no easy thing to achieve the merit
of the master. How many Norman
Rockwells, Hemingways, Debussys are
there? And don’t think for one minute
that their art was created through
pure inspiration. If you copy verbatim,
you are stealing. When you make the
least alteration you are either adding
your genius to a creation in order that
we may have one more artist to appre-
ciate, or you are destroying, quickly,
the essence of excellence. In the stiff
competition of any artistic endeavor
you will soon fall behind.

And here a good deal is left up to
the wise art director or buyer who
should look only for top notch art’sts.
If budget hampered he should look for
the newcomer who has taken a pre-
concieved art pattern and added some-
thing new to it, thereby creating with
help, what might never be attained
otherwise.

Jean Moore, Art Representative,
The Illustrators’ Group, N. Y.

Bundscho furnishes a modern and diversified
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An outline of this complete service is listed
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We make layouts and type specifications for any-
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We check your layouts for accuracy, practica-
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We set and put into type, magazine, trade paper
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We also set direct mail promotion such as sales
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Our supply of type faces and equipment is
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Advertising Typography and Design

180 NORTH WABASH AVENUE « CHICAGO 1, ILLINOIS
RAndolph 6-7292

Art Director & Studio News / November 1953

TIMES

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Art Director & Studio News / November 1953

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the quinsy report

Editor’s Notes: Marge Fletcher, Ac-
count Executive of Bielefeld Studios,
Chicago, was assigned the role of In-
quiring Reporter to probe the opinions,
business techniques and ideas of women
art directors. Hours of painstaking
questioning and analysis of answers
developed the following report. The
questioning also developed inflamma-
tion of the Fletcher throat and gave
this enlightening article its name. “Get-
ting a woman to talk is not as easy as
cartoonists would have us believe,” said
Marge in a hoarse whisper. “When they
learned they were talking for publica-
tion, some women clammed up, others
had plenty to say if it were printed
anonymously; still others stated their
views in a forthright manner and let
the quips fall where they may. Out of
respect for those who seek anonymity
it was decided to handle the matter
after the Dr. Kinsey fashion and an-
nounce results only in percentages. Ac-
cordingly, none of the answers can be
pinned on any particular women, but
anyone questioning the accuracy of the
Quinsy Report is privileged (and I use
the word advisedly) to question the fol-
lowing in person (a few of the fore-
most art directos questioned:”’)

Doris Gregg, AD, Waldie & Briggs,
221 N. La Salle Street, Chicago.

Barbara Holmes, Consulting AD, Hins-
dale, Illinois.

Patricia Jackson, AD, J. R. Pershall
Company, 105 W. Adams _ Street,
Chicago.

Susan Karstrom, (Vice-president, and
Chairman of Annual Exhibit of Society
of Typographic Arts), AD, Science Re-
search Associates, 57 W. Grand Ave.,
Chicago.

Marcia Morris, AD, Coventry, Miller &
Olzack, Inc. 212 E. Ontario Street,
Chicago.

Frances Owen, (1952’s Outstanding
Advertising Woman of the Year), AD,
Marshall Field & Company, Chicago.

How much does “feminine intuition”
(which men can’t possibly possess, be-
cause they’re men) influence your
work? Do you play hunches?

85% acknowledge influence of “femi-
nine intuition”.

“Tt not only influences my work, but
my entire life”

“Tt’s the biggest influence in my work.
With women doing most of the buying
today (even in such things as paint,
buying, they even do 65% of the buy-
ing of beer) more and more advertis-
ing should be based on woman’s in-
stinctive knowledge of what appeals
to buyers.”

“I use feminine intuition in trying to
sense what exactly each person is
striving for and playing up that angle
whether it is prestige, money, etc.,
which results in better cooperation all
around.”

15% don’t depend on intuition.

“T don’t think I have any.”

“Something must have been left out of
my make-up; I’ve never found any
substitute for cool logic based on
known facts.”

Medical authorities agree women, sel-
dom develop ulcers; yet male art direc-
tors insist theirs is a 5-ulcer profession.
From the standpoint of improving the
health of the profession, shouldn’t there
be many more women art directors?
Almost one hundred per cent of the
women questioned subscribed with en-
thusiasm to (a) the medical authori-
ties’ viewpoint, (b) the male art direc-
tors’ estimate of their profession and
(c) to the pious and purely unselfish
program, above suggested, for the gen-
eral health of the profession. But a
harried 5 per cent wondered if they
themselves were not on the verge of
discrediting such medical opinion.
One answer took an unexpected tack:
“The reason there aren’t more women
art directors is this: most women don’t
want to make the necessary sacrifices
of time, energy and social life. Most
girls consider a theater — or dancing-
date much more important than a dead-
line.” (It would be interesting to ask
male members of the Art Directors
Club of Chicago if they can think of
anything in life more important than
a deadline).

When is the proper time to turn “d’s-
tinctly feminine”, perhaps shed a vag-
rant tear; when is a pout effective;
when should a girl resort to the line:

ay We Heard You!

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products, corp.

REGISTRATION for WINTER SESSION of the
EVENING ART SCHOOL at PRATT INSTITUTE

Applicants for the various courses should present samples of original work
at the following evening interviews: Advertising Design, Nov. 30; Industrial
Design, Architectural Drawing and Building Construction, Dec. 1; Illustration,
Dec. 2; Interior Design, Dec. 3. Applicants for all other classes may be inter-
viewed on any of these evenings. The Winter session begins Dec. 7. To receive
an illustrated catalog, or for other information, write to the Secretary, Evening
Art School, Pratt Institute, 215 Ryerson Street, Brooklyn 5; or phone MA 2-2200.

UITION

T
CLASS INSTRUCTOR EVE TIME per TERM

INTRODUCTORY CLASSES

Introduction to Design & Illustration

Krevitsky TuTh 7-10 $45.00
Introduction to Architectural Drawing.. Unger MTu 7-10

$45.00

GENERAL CLASSES

History of Design McNeil Ww 9-10 $ 7.50
History of Architecture ; Ehrlich Ww 7-9:30 $18.75
FOUNDATION CLASSES
Design & Color Fundamentals |
(Sec A) Lewicki M 7-10 $22.50
Design & Color Fundamentals |
(Sec B) Richenburg W 7-10 $22.50
Design & Color Fundamentals ||
(sec A) : Richenburg Tu 7-10 $22.50
D & Color Fundamentals Il
(Sec B) Taylor Th 7-10 $22.50
Perspective (Sec A) Billings M 7-10 $22.50
Perspective (Sec B) Lawson WwW 7-10 $22.50
Perspective (Sec C) Lawson Tu 7-10 $22.50
Media & Technique Control Cline Tu 7-10 $22.50
Object Drawing (Sec A) Sinagra Tu 7-10 $22.50
Object Drawing (Sec B) Murch Th 7-10 $22.50
Object Drawing (Sec C) Sinagra Tu 7-10 $22 50
Object Drawing (Sec D) Casey M 7-10 $22.50
Drafting Fundamentals | LoBarre Th 7-10 $22.50
Dratting Fundamentals I! LoBarre Ww 7-10 $22.50
ADVERTISING DESIGN
Layout Applications Lustig Th 7-10 $22.50
Rendering I! (Sec A) Pucci Ww 7-9 $15.00
Rendering II (Sec B) David Ww 7-9 $15.00
Advertising Typography Saelens Th 7-10 $22.50
Advertising Design Review Kennedy M 7-10 $22.50
Advanced Advertising Design Levit M 7-10 $22.50
Typographic Design Secrest Th 7-10 $22.50
ILLUSTRATION
Figure Sketching Tu 7 10 $22.50
Figure Modeling M 7-10 $27.50
Figure Structure MTh 7-10 $22.50
Space Composition Ww 7-10 $15.00
am TO 6m

Figure Illustration WwW 7.9 0
oshion Sketchin MTh_ 7-10 $45.00
en's Weal MTuTh 7-10 $50.00

Figure & Portrait Paintirig
ARCHITECTURAL DRAWING and BUILDING CONSTRUCTION

Basic Mathematics & Slide Rule Edwardsen Ww 7 9:30 $18.75
Architectural Drawing (Sec A) Sherman MTu 7-10 $45.00
Architectural Drawing (Sec B) Miller MTu 7-10 $45.00
Light Frame Construction & Materials. Zeitlin Th 7-9:30 $18.75
Advanced Architectural Drawing Beisheim WTh 7-9:30 $37.50
Elements of Structures Edwardsen Tu 7-9:30 $18 75
Mechanical & Electrical Equipment Dooley M 7-9:30 $18.75

u nt Reading & Elementar
. Estimat hn — si : Alper TuTh 7-10 $45.00
Building Design Kirchman WTh 7-10 $45.00
INTERIOR DESIGN
Interior Design Elements (Sec A) Billings Ww 7-10 $22.50
Interior Design Elements (Sec B Billings Tu 7 10 $22 30
Design Procedures & Rendering Smith Th 7-10 $22.50
Interior Architectural Drawing Gooid Tu 7-19 4
Interior Design of Architectural Units Smith M 7-10 $22.50

ontemporary Architecture ‘
ce interior Design Pile 7-10 $22.50
INDUSTRIAL DESIGN
Design Techniques Burke M 7-10 $22.50
Technical Dr ng & Introduction ; 4

to Manufacturing Methods & Materials Renwick 7-10 $22.50
Production Methods & Materials Moxwe Th 7-10 $22.50
Product Design asey Tu 7-10 $22.50
TECHNICAL WORKSHOPS -
Text ign Probert MW 7-10 $45 0
seaun Uaeinens Herman TuTh 7-10 $45 00
Pastel & Airbrush Rendering . Ebstein Ww 7 10 $22 50
Technical Illustration LoBorre M 7 10 $22 50
Woodworking & Modelmaking Cavalion M 7-10 $27.50

1934
PLYMOUTH

art designed

for television

h.c. sanford associates

34 east 39th st.,n. y.
murray hill 6-2068

“You're a big strong man, and I’m only
a woman.”

50% responded with a_ scornful
“Never,” but several added a qualifying
phrase “in business.”

“That seems to be the chief criticism
of women in executive positions and
the sooner women stop resorting to
feminine wiles the sooner they will
be accepted on equal footing with men.
As a matter of fact, men in creative
fields are just as temperamental as
women and can exhibit more tempera-
ment than a woman if she is to avoid
being accused of acting “female.”

“I try to avoid using feminine wiles to
achieve an end — however, most men
expect it.”

“The only time to pull that ‘big strong
man routine’ is when there’s a window
to be opened or when a file drawer
sticks — never when there’s a question
of working overtime after a gruelling
day, or going home from the office
alone late at night.”

40% admitted resorting to feminine

tricks on occasion, but never employing

anything as obvious as a tear or a

pout.

“It can be done without the men realiz-
ing it,” said several.

“Who doesn’t throw a tantrum when
she (or he) has to meet an unfair
deadline?”

6% refused to answer and took refuge

under the Fifth Amendment.

4% were non-commital but challenged

by the question, for example:

“I’m beginning to think I’d better, in
order to overcome inherent masculine
advantages.”

To reach your present station in the
art world what was the toughest lesson
you had to learn?

“That a woman must have much more
tact in dealing with her business as-
sociates than a man. While a man can
issue an order as a matter of course,
a woman has to make it sound like a
request and one that sounds like some-
thing the requestee wanted to do any-
way.”

“A man can criticise another man’s
work and it’s all in the day’s routine,
but a woman has to be so diplomatic
that the man leaves the interview
thinking the criticism was in his own
mind all the time.”

“Not to try to compete w:th men on
their own ground but to stick to the
things that men feel are inherently
feminine domains. Not to try to

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Art Director & Studio News / November 1953 9

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‘think like a man’, but to realize that
men want and recognize the value of
feminine thinking in certain fields.
The feminine mind is different from
the masculine. A woman can make
this a valuable asset and she is foolish
to lose this advantage by refusing to
acknowledge that there is a differ-
ence”.

“The most difficult art problem from
the creative point of view of a creative
art director seems to be one of con-

stantly improving one’s style — con-
sistently trying to outperform one’s
self — a constant challenge.”

‘That men don’t like to take orders
from women, and we therefore must
use diplomacy.”

“My toughest lesson was how to get
along with all kinds of people—even
when I don’t agree with their think-
ing.”

“Not to lose my temper when I can’t
put my ideas over.”

As a woman art director what was
your most difficult problem? (a)
Struggle for equality with men; (b)
Getting your compensation up to male
standards (c) Master-minding of your
work by incompetents?

95% skirted over (a) and pounced on
(b) saying “and how” to (c) 5% ad-

mitted failure of acceptance and recog-

nition of ability in comparison with
men.

65% considered matter of compensa-

tion of utmost importance, but felt that
it is gradually working out satisfac-
torily, particularly in the magazine and
fashion fields.

30% were sure the issue would always

be with us — that there is no solution

as long as industry knows that women
will always have to take time off to
have families.

Comment in regard to (a)

“The war did a great deal to put
women on an equal footing with men
in the business world. Of necessity
they had to be given an opportunity
to do a man’s job and proved that
they could handle it with equal facil-
ity. The kids getting out of school
and into our business now don’t have
anywhere near the handicaps that we
had in overcoming prejudices against
women executives.”

“Since an understanding of the remi-
nine mind is so essential a part of ad-
vertising and advertising art, the
struggle for feminine recognition is
much less a factor in our field than
in many others.”

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Art Director & Studio News November 1953

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Dear Bill...

Chicago ad art folk write Bill Sproat on everything
from how to get a start in the field to free-lancing,
trends in photography and TV, and printing as a hobby

It sure looks different from herel

Now that I look back on 20 years plus
in the agency end of the business, I
think it all began some years ago dur-
ing my first term as Secretary of the
Art Director’s Club of Chicago. At that
time, the Secretary’s major responsi-
bility was for the membership. As a
result, he seemed to have more direct
contact with the individual members
than any other club officials. They just
seemed to turn to him for almost any-
thing .. . some were matters of a pretty
confidential nature, too.

As a result, I found myself involved
in questions of working arrangements,
definition of function, working condi-
tions, going rates of pay, relative cost
of art work, actual disputes on various
subjects as well as matters of employ-
ment ... all seemed to need answers
and the club seemed the logical place
to which to turn for help. It seemed
logical to me too, so I used to take
it on.

Later on while serving as President
of the Club, I became more convinced
than ever that a permanent answer to
this combination of needs would go a
long way toward satisfying that much
discussed question “‘What do I get out
of the Club?” Many of our subsequent
activities ... our “Information Please”,
our Speaking Course and the resulting
Speaker’s Bureau, our many joint clini-
cal sessions on the cost of art and
similar shop-talk type of subjects were
evidence of a groping in the right
direction. But it never materialized.
Maybe it never will.

Maybe now with the founding of this
new Personnel Consulting service of
mine it won’t be necessary. Many of
those ideas, some of them even ideals,
with which I flirted back when I was
Secretary, are now reality. With only
a bare ten months of operation, it is
now apparent that such a central clear-
ing house of data, information and
personnel can be operated on an effec-
tive and practical basis. While it’s a
little early to tell yet, there’s every
evidence that this must grow not only

to regional but to national proportions
eventually.

There’s still a long way to go, but
it’s obvious we’re on the right track.
We're now meeting the need for this
highly confidential and personal serv-
ice here in the Chicago area. It has
met with widespread acceptance and
enthusiasm, but this is no part time
job . .. it’s no job for an outsider
either . . . you have to know the pro-
fession and the people in it. That’s why
I've taken it on... that’s why I’ve
picked it to do for the next fifteen
years.

Sounds kind of idealistic, doesn’t it?
Actually, it is... in fact sometimes I
think it’s a shame it has to be done
for money.

Doug Smith,
Doug Smith, Inc.

Eenie meenie minie mo

“To the fledgling Art Director, as to a
young man in any field, there comes a
time when he must choose a definite
objective for himself. He must make a
basic decision. . . . “Shall I stake my
future in the highly competitive, highly
specialized large agency field ... or
shall I cast my lot with a smaller or-
ganization on the way up, where my
scope of activity is broader, relation-
ships with both agency principals and
clients are more intimate, and earning
potentials (under profit sharing) can
be just as promising’’?

I chose the latter course, and as a
result I have been able in a relatively
short time to obtain a far better under-
standing of practical agency working
procedures, a_ versatility which en-
hances both the quality and the quan-
tity of my work as an art director. In
addition, there is a strong sense of
satisfaction and achievement in parti-
cipating more broadly in the agency’s
work and progress.

I feel strongly that the young man,
to find himself, and have the best
chance to really get his tocth into the
game, will choose as I have.”

John Forbes,
M. L. Samson Co.

November 24 to Nov. 16th

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Art Director & Studio News

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November 1953

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LETTERING

Cl 6-4467

25 west 4sen st wy SEIME DAm ICO

47 West 44th Street, N. Y. 36, N.Y

It’s a great life

“How about this, at last a fellow gets
a chance to tell the world all about
why, how, and what he wants to ac-
complish in this great profession known
as the al-nighty glorified “AD” —

To start well where did it all
start? I think we all ask ourselves that
question. In my case I feel that luck,
friends, criticism, overtime and a little
sore-legging have helped pave the way
to the much sought after “AD”.

The young Art Director of our time
has more of a future than ever before,
as Art today is becoming more un-
derstandable to the average American
Consumer. We’re almost un-limited
with the machines we have at our
fingertips — T.V. trade papers —
direct mail — package design — ete.

- not to mention national advertising.

Working in different agencies I have
become aware of the great importance
of team work, ideas, experience, knowl-
edge of Art Director, Copy Writers,
Production Manager, Artist even the
client should have a thorough working
knowledge of what is being donc. All
will blend to attain a crisp, appealing,
saleable ad.

I feel my future can not be but an
exciting one and plan to make it so by
learning and trying different ways and
means to produce the makings of an
inspired and progressive feeling in my
work. This is accomplished by keeping
up with what is going on and at all
times be ready to encourage a good
thing aloud.

Whether we realize it or not—we're
all part of a wonderful professicn—
packed full of vitality—challenge—en-
deavor. The reward is priceless as man,
brush and brain blend to create adveor-
tisements that millions can see, read,
and understand. Yes, the future for a
young Art Director is boundless. I’m
glad I’m part of it.”

Ed Wentz,
J. R. Pershall Co.

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LETTER

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New York 10, NY.

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in the four-figure billing

ments, all
bracket.

When the crass, commercial world
begins to press too close, you simply
leave the studio for a few weeks, or
months, on a leisurely trip to Mexico,
Italy, or wherever your soul seeks in-
spiration. You might even take along
one or two of the more interesting
things to do in your spare moments.

Ah, freedom! Even the words “free
lance” suggest adventure, glamor, free-
dom. They come, you know, from the
gallant iron-clad “free lance” who gal-
loped about in search of adventure
when knighthood was in flower.

You are a free soul—you owe alle-
giance to no master—you lend your tal-
ent only to those you deem worthy, and
who pay you well for it.

This is the romantic life of a free
lance! If you think so, you’d better
stop smoking that stuff and go back to
tobacco.

It’s really like this

A free lance artist (or designer, or
art director) is really the proprietor
of a small one-man business. He’s his
own boss, yes, but he’s also his own
hired help—and he could never work
for a tougher employer.

He is usually his own secretary, pro-
duction manager, salesman, researcher.
messenger-boy, bookkeeper, telephone
answerer, package wrapper, and a
flock of other things. Unless he enjoys
doing all these things (which I do not),
he should have a representative (which
I have) to take over many of these de-
tails along with that most important
job—selling.

When you free lance your time is,
to a certain extent, your own. If you
want to play golf, see a show or just
take a long lunch, you can do it with
a clear conscience—provided it doesn’t
interfere with delivery dates, of course.
Actually, free lancing is a most pleas-
ant and satisfying way to live and
work, but you do have to be geared to
it. You can be a playboy, but there’s
nobody to blame but you when the
groceries run low. The glamor touch is
strictly from Hollywood.

Free lancing, among other things,
gives you much more of an opportunity
to do the particular kind of work that
interests you—and to stay clear of the
kind that does not. When you're on
your own, you’re subject to a minimum
amount of interference. The pet no-
tions, irrelevant suggestions and ex-
traneous ideas of the brass, near-brass,

another talented addition
to our versatile staff :

Versatile Ed Paulsen, has been for years,
the dependable choice of many of the nation’s
leading art directors. If you’re not already
acquainted with Ed’s work, we'll be happy
to show you more...

headquarters for automotive art for 25 years

LA DRIERE STUDIOS, INC., 1700 cavittac TowER, DETROIT 26, MICHIGAN

Art Director & Studio News / November 1953

PHOTOGRAPHIC

More than twenty years ago in Chicago, Valentino Sarra
opened his studio to make the best in photographic
illustrations.

More than twenty years later — and without interruption
— Sarra and his organization are still making them...
making brilliant photographs of unvarying excellence

for advertising illustration, TV commercials, moticn
pictures, sound slide films.

And ... you may be sure that when Sarra, or one of his
advertising specialists, focuses on your advertising
problem, he Shoots to Sell.

SARA

SPECIALISTS IN VISUAL SELLING
Chicago: 16 East Ontario Street
New York: 200 East 56th Street

ILLUSTRATION ¢ TV COMMERCIALS « MOTION PICTURES

e SOUND SLIDE FILMS

and would-be brass have usually been
incorporated, or discarded, by the time
you get the job.

Any Agency Art Director who has
had to sit on the sidelines and watch
a fine, simple layout, or a good pic-
torial idea “experted” to extinction will
agree, I am sure, that this is where
the eggs are laid. The job that results
from such an egg-laying session is one
that the free lance can be “too busy” to
accept if he so chooses. Volumes could
be written on this subject, but the “ex-
perts” wouldn’t bother to read them,
anyway.

Free-lance check-list
At this point I would like to offer a

little aptitude test that’s guaranteed
to be completely unscientific, and is
recommended by no panel of experts
that I know of. However, if you happen
to be tinkering with the idea of mak-
ing the jump from the steady lettuce
to free lancing, try answering these
questions “yes” or “no”.

1. Have I developed a definite product
or service to offer to buyers of art
work?

2. Am I reasonably sure that there is
a market for this product or service?

3. Am /] prepared to face the famine
along with the feast to find out?

4. Am I able to finance myself for six
months, or a year if necessary?

5. Have I had sufficient professional
experience in an agency, studio or
art department to know my way
around in art circles?

6. Have I complete confidence in my

ability to live happily without

bonuses, trust funds, group insur-
ance, retirement pensions and paid
vacations?

Am I sure I’ll be the toughest boss

I ever worked for?

~I]

If you answered an honest “yes” to
all these questions it doesn’t neces-
sarily mean that you’re a cinch to suc-
ceed as a free lance, but it does indicate
pretty clearly that you’ve already made
up your mind to be one.

Welcome! and good luck to you!

Luther Johnson,
Verne Smith & Associates

Printing for a hobby

“Judging by the ones I know, artists
are probably the greatest hobbyists in
the world. They travel, take photo-

graphs, make things with power tools,
operate miniature railroads, race sport-
raise live stock and do
All

sail,
things.

ing cars,

many other these hobbies

November 1953

Art Director & Studio News /

ROY GERMANOTTIA INC.

we do all the usual stuff,

but we try to do it

better'n anybody else and that’s
what lots of clients say we do.
No salesmen, only experienced

art director principals who
know what you want.

al, PHONE: ELDORADO 5-71 7
“7° -7155-6

NOSTRAND

1. J. Becker Studios

every branch of photography
controlled Flexichromes

associates:

480 Lexington Ave.

call EL 5-3696 for our representative,

Joe Hanson

* Georg Blackwell
* John Brefach
¢ Murray Duitz

New York 17

TELEVISION

and radio sets, all housewares . . .
sales appeal photo retouching by

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TOMKINS TELEPAD

Leading agencies and
studios use the Tom-
kins Telepads to make
meat, orderly, TV
“storyboards.” Each
pad contains fifty sheets
of fine white visualizers
paper. Each sheet is
divided into 12 perfor-
ated sections that have
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video and audio conti-
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$3.50 each $38.50 Doz

FREE: “BROWN INK,” published
monthly, keeps you up-to-date on
the newest ideas for artists.
Write on your letterhead

ROWN & BRO

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ARTHUR B

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Quality Art Materials

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are wonderful and prevent many an
occupational ulcer.

“Like the Texan always willing to
say a kind word for Texas I am always
eager to say a kind word for my own

hobby, printing with a small hand
press.
“This is not an expensive hobby

unless you make it so. I spent thous-
ands of dollars on photographic equip-
ment and never made a single decent
picture. I have only spent a few hun-
dreds on printing equipment and while
my printing is probably no better than
my photography it has brought me
more creative pleasure.

“Every artist has ideas he would like
to try, things he would like to do his
own way regardless of what the client
wants. A small hand press and a hand-
ful or so of type offers this oppor-
tunity. If he is rich he can have his
drawings photo-engraved but if he
wants to try making his own plates
there is plenty of inexpensive linoleum
and wood. There are other experimental
things to try.

“The beautiful part of this printing
hobby is that it has no limitations.
You alone set the pace. With limited
money you can work small with a mini-
mum of equipment. On the other hand
if you are one of those who gets his
greatest pleasure from buying equip-
ment, the supply is endless. There are
thousands of type series, all kinds of
presses. There are ancient presses to
restore and many old type faces to be
found in old out of the way print shops.

“What you do with a private press
is your own decision. You can print
the poems written by a rich aunt and
maybe win an inheritance, you can
print little cards that you hand out
surreptitiously to friends. You can dig
up interesting items of intellectual in-
terest and make a contribution to the
world. Or if you are commercial minded
like me you can print mailing cards
and booklets -soliciting business.

“There is a tremendous amount of
fun and unlimited possibilities in a
small private press. If you are inter-
ested take a tip from the little ow! and
look in the classified directory under
printer’s supplies and get in on the
fun.”

John Averill

Wake up, Art Director . .
Chicago is TV-town

“If your memory goes back to Chicago’s
great fair, ‘A Century of Progress,’
you may remember the exhibit which
featured a wonderful new invention

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sign painter and
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TYPOGRAPHERS

228 East 45th Street
New York 17,N.Y.

called television. This exhibit of a
crude gadget marked the beginning of
a new kind of entertainment which was
to become known as ‘Chicago-style’
television in almost every home in the
nation. We can be justly proud of the
part Chicago played in pioneering this
most powerful form of entertainment.

Television developed slowly and
quietly until the close of World War II
when Chicago announced the opening
of four commercial television broadcast-
ing stations. It was the opening of
these stations which started every ad-
vertising agency in town buzzing with
excitement over the possibilities of a
new form of advertising. We were on
our way. In a few short years, and not
without growing pains, television mush-
roomed into one of advertising’s most
potent sales forces.

“With the advent of this new medi-
um, the Art Directors Club of Chicago
was quick to recognize the importance
of the vision in television. It was ob-
vious from the start that the art direc-
tor, with his experience in the graphic
communication of advertising ideas,
could contribute as much to the better-
ment of TV as he had to the betterment
of all other forms of visual advertising.

“Today, however, it is also obvious
that any progressive, ad-minded art
director who hopes to contribute artis-
tic thought and guidance to TV, must
educate himself in the technical side
of television production. To be of any
real value, he needs all the qualifica-
tions of a publication art director plus
showmanship, and an understanding of
stage, motion picture and television
production techniques. Without this it
is impossible for him to contribute con-
structively to the improvement of the
industry . . . he can only criticize it.

“At any A.D.C.C. luncheon you will
hear remarks like these: ‘Television’s
for the birds.’ ‘How come they use so
much lousy typography?’ ‘Wouldn’t you
think they’de get some one in there who
knows something about composition to
plan those camera shots?’ ‘TV... I
want no part of it.’

“How negative can you get! What
have these cynics been watching?

“Wake up, Art Director .. . tele-
vision is serious business ... the most
challenging facet of the advertising
business we’ve seen in a long, long time.
The air is loaded with stimulating, well
produced TV programs. If you will
open your eyes, you will find that the
success (yes success) of these
programs and their commercials is due

It provides wonderful comfort

Turns out intricate stitches
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in large to close cooperation between
writing, production and art direction.

“We will not deny that there is
ample room for betterment in the con-
ception and execution of some TV.
However, the fact that this is so indi
cates that there is also ample oppor-
tunity for the art director who is
sincere in his desire to contribute to
this betterment.

“Wake up, Art Director ... TV is
opportunity. If you wish to improve art
direction in any medium, success is im-
possible without creative talent, busi-
ness ability and a thorough technical
knowledge of that medium. To improve
art direction in television you must
devote as much time to the study of
the functions of the television and
motion picture cameras as you now
devote to the study of engraving and
printing processes.

“Where better can you learn the
TV industry than here in Chicago
where it was pioneered? Get acquainted
with the people at our television sta-
tions. They want to improve the indus-
try perhaps even more than you do.
Chicago is loaded with fine motion
picture and animation studios. They
are waiting for you to help them make
this the center of the industry.

“Television broadcaster . . . motion
picture producer .. . client. They’re all
here in Chicago.

“Wake up, Art Director ..
is TV-town.”

Scott Park,
Television Art Director

. Chicago

Needham, Lovis & Brorby, Inc.

Art employment service

“Just a little over three years ago,
when the Artists Guild opened their
new headquarters, I was given the key
to the Artists Guild cffice and told
by Taylor Poore, then Executive Chair-
man of the Club Rooms, that he thought
an employment bureau within the guild
would be of great service to the art-
ists, especially to the apprentice. Little
did we dream of the great need of this
service, not only to the apprentice, but
to the Artist of many years’ experi-
ence, who was either out of work or
looking for a new job to better him-
self.

“There was also the urgent need of
studios and agencies for regular and

specialized help, to know that when
they called for a layout man w7-th
emphasis on design, they would not
get a realistic illustrator, and when

asking for a paste up—keyline man,
(Continued on page 82)

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Art Director & Studio News = / November 1953 8

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oi eS a

Three magazines bow

Industrial Design, published by Charles
E. Whitney, Whitney Publications Inc.,
New York, bowed last month. Its pur-
pose is to serve creative product de-
signers.

Art director Alvin Lustig told
AD&SN that he is doing most of the
art work for the magazine. He will use
photographs and illustrative diagrams,
and is working out a special style for
Industrial Design.

Expecting, a new maternity maga-
zine due this month, will be distributed
through doctors’ offices. Issued quar-
terly by Barchester Publications, Inc.,
New York, Expecting will present ma-
ternity fashions, baby care, infant
clothes and beauty guides.

Art Director Larry Gaynor, Duermos
Advertising agency, will do the illus-
trations (two-color and b & w). The
November four-color cover was done
by John Duffy.

Tape and Film Recording is a bi-
monthly magazine devoted to all aspects
of magnetic recording. Publishers are
Mooney-Rowan, Severna Park, Md.
Magazine will feature how-to-do-it
articles and information on new equip-
ment for recording. First issue is the
November-December.

Reilly lectures at League

Frank Reilly, artist, teacher, lecturer
and writer, is giving the following
series of lectures at the Art Students
League: Nov. 11, Anatomy; Nov. 17,
Perspective; Nov. 24, Drapery; Dec. 1,
Abstractions; Dec. 9, Color Abstrac-
tions; Dec. 16, Composition.

Series, which began Oct. 7, for both
League students and non-students. Fec
per session is $1.00.

Art Director & Studio News / November 1953

ART DIRECTOR & STUDIO

Emerson appoints Perton AD. Irwin

Perton
has recently been named Art Director
of Emerson Radio and Phonograph
Corporation.

Mr. Perton has been Art Director
of Fuller, Smith and Ross; Hillman
Publications; and Jaeger Studios. A
graduate of the School of Industrial
Arts, he also studied art and design at
Cocper Union. His oil paintings have
frequently been on exhibition at muse-
ums throughout the country and he has
received many awards for design.

ATA names officers

At the annual convention of the Ad-
vertising Typographers Association of
America, Inc., the following officers
were elected: Carl H. Ford, J. W. Ford
Co., Cincinnati, president; Walter T.
Armstrong, W. T. Armstrong Co.,
Philadelhpia, is vice-president; Mrs.
E. W. Shaefer, Tri-Arts Press, Inc.,
New York, treasurer.

news

NOVEMBER, 1953

Market change boosts design market

Thomas G. Nevell, Chairman of the
research committee of the Society of
Industrial Designers, predicts that
more than $2.5 billion in consumer and
industrial products designed by the
members of the Society will be sold in
the next year.

Mr. Nevell based his predictions on
a survey of members and two major
shifts in the economy picture: the
switch from a sellers’ to a_ buyers’
market, and the cessation of Korean
fighting.

Magazine war grows

The women’s magazine battle has got-
ten into high gear. To combat store-
books (such as Better Living, Family
Circle, Everywoman’s, etc.), Ladies
Home Journal has begun taking “jun-
ior” ad pages. Other similar magazines
have followed suit.

| AD&SN publishes largest issue;
Sproat is Chicago editor

William E. Sproat, AD at J. R.
Pershall Co., Chicago, worked with
the AD&SN staff to produce this
112-page issue, the largest in the
history of the publication. Previous
record issues were May 1953, 100
pages; September, 96 pages; Febru-
ary, 92 pages. Last November, also
a Chicago issue, was 88-pages, a
record at the time. Chicago Business
Manager for this current issue was
| Seymour Levine, Foote, Cone &

| Belding AD. |

Package design said to build sales

“A company’s long range package de-
sign ...can mark the difference...
between profit and loss,” declared Jim
Nash, industrial designer, in an ad-
dress before the National Flexible
Packaging Association, Hershey, Penna.

Mr. Nash stated that the manufac-
turer’s brand name or trademark is
the most important building element on
any package. He advocates the follow-
ing elements in package design: a
dominating brand identification; a bold
product name or attention getting illus-
tration; an orderly arrangement so
that design directs reading order; good
utilization of space on sides and back
of package.

TV causing package redesign

In Tide’s survey of production prob-
lems in color TV, the following facts
are cited:

Some of the production problems
have been solved with paler flesh col-
ors, slower camera action, brighter
lights, compatible background color,
painted miniature sets and costumed
dress rehearsals in front of actual
sets. A major precaution is avoidance
of clashing color.

Networks are offering advertisers’
color clinics to see how their TV com-
mercials will look in color.

With complete product identification
now achieved, the package has become
the salesman. In some quarters this is
causing radical revisions in package
design and color.

New camera 2% x 2'4 geared

to action photography

Kodak Chevron Camera is designed for
the advanced photographic worker. It
makes 2%” square negatives and pro-
vides 12 exposures on each roll of 620
film. Chevron lens are Ektar 78mm
f/3.5; shutter is Synchro-Rapid 800, of
the gear-train retard, pre-setting type
with continuous-action blades. It offers
a choice of 10 shutter speeds from 1
second to 1/800 second, plus “B” for
long exposures.

Focusing and viewing system, with
a split-field type rangefinder. Permits
accurate focusing from 3% feet to in-
finity. Viewfinder is enclosed, optical,
eye-level with automatic parallax cor-
rection over the focusing range.

With an adapter the camera can be
used for 828 b & w or color films.

Holtz goes to Europe. F. Richard
Holtz, a
member cf

the Rochester Art Directors Club, has
been given a special assignment in in-
ternational advertising by the Eastman
Kodak Company.

His new appointment will take him
to Europe for three months, as a step
in coordination of Kodak’s advertising
activities abroad.

Mr. Holtz has been with Kodak since
1936, and has headed the Package De-
sign Division since 1942. He is a mem-
ber of the Packaging Institute, and the
Packaging Advisory Council of the
American Management Association.

Newspaper changes type

World Telegram & Sun has changed its
type face from Ionic, 74 pt. on 8%
pt. base, to Intertype Regal No. 2, 8
on 9.

;

Louisville Art Center

Art Center Association School, Louis-
ville, gives courses in painting, draw-
ing, sculpture, design, commercial art,
lettering and layout, graphic art, etc.,
both day and evening. Spring semester
begins February 8. For further infor-
mation write the School Secretary, 2111
South First Street, Louisville 8, Ken-
tucky.

Museum to show art films

Museum of Modern Art will show sev-
eral art films on November 23-29 at
3:00 and 5:30 P.M. Films are Motion
Painting No. 1, Boundary Lines, Loops,
Pen Point Percussion, and John Gil-
pin’s Ride.

AAAA fights objectionable ads

To encourage agency people to report
examples of objectionable advertising,
the American Association of Advertis-
ing Agencies is releasing a series of
posters for its participating agencies.

Complaints are forwarded by
A.A.A.A. without identification or en-
dorsement to agencies placing the ad-
vertising concerned, for whatever action
the agencies wish to take.

Participation is “open to all agencies
interested in voluntary self-improve-
ment, as opposed to censorship and
regulation.”

SAAD sponsors kids show

Eighty-six paintings by children of
SAAD members composed the First
Annual Kids Show sponsored by the
San Francisco Society of Artists and
Art Directors. Paintings were judged
by a distinguished group and special
awards were given in three age cate-
gories. Awards consisted of a citation
with a red ribbon attached to a big
round gold-wrapped chocolate. Brass
rail bar served heaps of lemonade.

HHceW TEP WASTE SWE ATE ts

=F
a

Fashion appeal Large photograph of

children in sweaters
in outdoor setting, shot by Richard
Avedon, dominates this Rinso ad. How-
to-do-it photos demonstrate specific use
of product. This is part of a series on
this theme, featuring the product use
rather than the product itself. AD is
Rollin C. Smith of Hewlitt, Ogilvy,
Benson & Mather.

> 2 teed tele Gnd

— anf eos One

Photo-Lettering adds alphabets

Ed Rondthaler has been abroad secur-
ing European alphabets for Photo-
Lettering Inc. and one-man calligraphic
and lettering shows for the Alphabet
Gallery.

Toni Bonagura and Frank Bartuska
have transferred their entire “Custom
Lettering” line of nearly 100 photo-
graphic alphabets to the Company’s
library. This line includes many ver-
sions of both contemporary and classic
designs. A brochure displaying these
designs is available from Photo-Letter-
ing, Inc., 216 East 45th Street, New
York City.

awe oe
ef LL

Bradley designs ornaments. Dean of

American
typographers, Will H. Bradley, has de-
signed Bradley Combination Ornaments
for American Type Founders. Each
piece is 24 pt. by 24 pt. and the pieces
may be arranged to form varied com-
binations.

Mr. Bradley hasn’t been at ATF for
50 years. Recently the company had
him back for a visit. He looked over
ornamental pages from ATF archives,
designed by him long ago. His Ameri-
can Chap Book series has become a
collector’s item.

The eighty-five-year-old designer’s
work has strongly influenced the trends
in design. He reestablished the popu-
larity of Caslon and contributed several
new type faces of his own design.

Swiss type booklet

K. Heitz Import Company offers a book-
let showing their line of types imported
from Switzerland. These types and
Swiss color printing plates may be
obtained from the Company at 150 W.
54th Street, New York 19.

Art Director & Studio News / November 1953

32nd AD ANNUAL

The 32nd consecutive ANNUAL OF AD-
VERTISING AND EDITORIAL ART of the
New York Art Directors Club will be
published about the middle of November
by Visual Arts Books (Farrar, Straus
& Young, Inc.—New York).

This new edition presents 368 out-
standing examples of distinguished—
and successful—art and layouts in 16
broad categories. These award winners
and selections were chosen from nearly
10,000 entries by committees represent-
ing the membership of the Art Direc-
tors Club of New York and included
in the Club’s Annual Exhibition held
last May at the Grand Central Gal-
leries.

The 400 8 x 11% inches pages of the
32nd ANNUAL make this book some
60 pages larger than ever before. It in-
cludes twice as many full color plates
as in any previous ANNUAL. There
is a striking 4-color jacket and, as
usual, the book is handsomely printed
and bound.

As a special feature the new AN-
NUAL includes 16 pungent and spec-
ially written commentaries by the fol-
lowing top management people in ad-
vertising, marketing, and publishing:

James C. Boudreau, dean, Pratt In-
stitute, on the educator’s views of the
art director’s qualifications and train-
ing.

Austin Briggs, noted illustrator, on
the illustrator and the art director

Bennett Cerf, president, Random
House, Inc., on the art director in book
publishing

Gardner Cowles, editor, Look Maga-
zine, on the magazine art director

J. H. S. Ellis, president, Kudner
Agency, Inc., on the art director as a
salesman

Francis W. Goessling, art director,
Abbott Laboratories, on the art direc-
tor’s role in house organs

Albert Hailparn, president, Einson-
Freeman Co., Inc., on selling ideas in
posters and point-of-sale display

F. Raymond Johnson, executive vice
president, Saks Fifth Avenue, on the
art director in a department store

J. Louis Landenberger, president,
Ketterlinus Lithograph Co., on the art
director’s influence on poster and point-
of-sale advertising

Herbert R. Mayes, editor, Good
Housekeeping, on how the art director
influences the editorial field

Barrie C. McDowell, Director’s Art,
on the representative’s relationship to
art director and artist

Georg Olden, director of graphic
arts, C.B.S. Network, on the work of
the art director in the television field

Allyn Shilling, director of advertis-
ing, National Distillers Products Corp.,
on the art director’s influence on trade
periodical advertising

Frank Stanton, president, C.B.S. Net-
work, on the role of the art director
in broadcasting

Ivan Veit, promotion director, N. Y.
Times, on the newspaper art director.

Walter Weir, vice president, Dona-
hue & Coe, on the copywriter and the
art director

The 32nd ANNUAL is designed by
Martin Stevens (AD of Ellington &
Co.) and edited by George Failes (AD
of the Kudner Agency, Inc.), under the
committee chairmanship of Robert Mc-
Callum (McCallum Studios). Other
committee members include: Mahlon A.
Cline, business manager; Ralph Seber-
hagen, publicity; James Buckham;
Heyworth Campbell; Arthur Hawkins,
Jr.

Minneapolis starts with exhibit
The AD Club opened the season with an
exhibit of layouts and finished art for
True Magazine. Al Allard, AD of True
furnished the art work shown.
Besides plans for future meetings, a
committee was formed to entertain and
paint murals in children’s hospitals.

Joint Ethics Committee New officers

and members
of JEC of New York are: Albert Dorne,
Society of Illustrators; Charles Frei-
muth, Artists Guild; Lionel Gilbert, So-
ciety of Illustrators; Roswell Keller,
Society of Illustrators, treasurer;
Adolph Treidler, Artists Guild, vice-
chairman; Jack Jamison, Art Directors
Club, retiring chairman; Walter Nield
(AD, Young & Rubicam), Art Directors
Club; Cecil Baumgarten (AD, Green-
Brodie), Art Directors Club, chairman;
Henry Mitchell Havemeyer (AD, Haz-
ard Advertising), Art Directors Club,
secretary; Vera Richstone, executive
secretary; Ed Ashe, Artists Guild (not
shown).

Logo speaks for itself in Kellogg ad which was ADed by Andy Armstrong,
Leo Burnett Co., Chicago. In a world of many brands
this brilliant red logo with its simple editorial material gives strong identification.

DMAA elects

Lawrence C. Chait, director of list re-
search at Time, Inc. has been elected
president of the Direct Mail Advertis-
ing Association.

Other officers are: vice-president,
Charles S. Downs, Abbott Laboratories,
North Chicago; Canadian vice-presi-
dent, Howard S. Mark, Robert Simpson
& Co., Ltd., Toronto; secretary, Arthur
W. Theiss, Minnesota Mutual Life In-
surance Co., Inc.; treasurer, Herbert
Buhrow, McGraw Hill Company.

New Jersey group
exhibits fine art

A group of eleven New Jersey art
directors, designers and commercial
illustrators are holding their first fine
art painting exhibition. The two week
exhibit opens November 15 at the Silo
in Morris Plains, New Jersey.

Exhibitors are: Frank Childers, Lou
Hanke, Merrill Harvey, Homer Hill,
Jo Kotula, Joseph Low, Howard Mur-
phy, Kenneth Olsen, Everett Sahrbeck,
Stanley Sherwin, Edward Turano.

This unorganized group meets month-
ly for criticism of fine art paintings
which are brought each time by mem-
bers.

Museum to sell Christmas cards
by modern artists

Christmas cards by such world-famous
artists as Picasso, Matisse, Rouault,
Ben Shahn, and Saul Steinberg are on
sale at the Museum of Modern Art,
11 West 53 Street, New York. This
year cards may be ordered imprinted
with individual names.

At prices ranging from 5 to 25
cents, cards may be had at the main
lobby or by mail order. Samples are
available on request.

Art Students League
scholarships awarded

Eighteen students have been awarded
merit scholarships totaling $4,000.
Winners from New York are: Seva
Alvanos, Roger Barnes, Carroll Cart-
wright, Tamara Gray, Cynthia Hilsen-
rath, Alexander Martin, Martin Pojan,
Gordon R. Press, Lillian Rochlin, Bar-
bara Silbert, Walter S. White, Dolores
Wisinski and Frank Yee.

Five other scholarships go to George
T. Mukai, Spring Valley, Calif.; J.
Bardin, Elloree, S. C.; Esther Cohcn,
Boston, Mass.; Nik Puspurica, Dallas,
Texas; Bernice Hoffman, St. John,
N. B., Canada.

Creative Plus moves
to Fredman-Chaite

Creative Plus Forums, formerly spon-
sored by Hampton Studios, is now
under the sponsorship of Fredman-
Chaite Studios, Inc.

November 18 meeting will be on De-
sign and Sales with Will Burtin and
Dr. Robert Leslie as speakers. Carl
Weiss moderates. Meetings are held as
usual at Willkie Memorial Building, 20
W. 40th Street, New York, at 7:30
P.M.

Fredman-Chaite also announces a
new monthly house organ.

AIGA appoints Morrow

Joyce Morrow has become executive ad-
ministrator of the American Institute
of Graphic Arts. She will also direct
the newly formed public relations
program.

Mrs. Morrow’s former New York
affiliations include association with
Columbia University Press, assistant
manufacturing director of H. Wolff
Book Mfg. Co., and copy chief of Life
Magazine. Most recently she has been
associated with Lewis & Gilman, Inc.,
Philadelphia advertising and merchan-
dising agency.

if your're still
looking
for

a better cigar...

you've 2®

never

smoked

A PRIMADORA
Is Pu

Design with product In the new

trend of cigar
advertising Oscar Krauss, Monroe
Greenthal Company AD, gives La-
Primadora extra impact. Functional
use of product in design with cigars is
similar to Empire pencil ad in October
AD&SN.

maith pn ae roeoelUrelUrl UF

Heres a for instance

Bisquick 2
No Ow —

Departs from “pretty color’ A D

Bill
Schneider’s idea was to focus attention
on product without run-of-the-mill lus-
cious-color appeal. Sweep device of 12
uses is flexible and series uses various
ones as feature. Photography was
done by Horace Hime, Ray Shaffer
Studios. Schneider is with Knox Reeves
in Minneapolis.

School of Design gives
airbrush instruction

Classes in airbrush techniques and air-
brush applied to advertising art and
textile design are being offered by
the New York-Phoenix School of De-
sign, 160 Lexington Avenue, New York
City. Classes will meet once weekly for
ten sessions. S. Ralph Maurello, author
of “Commercial Art Techniques” and
“The Airbrush Manual”, is instructor.

New film gives greater contrast

Supreme Type 2, similar to Ansco
Supreme Film in speed and most other
characteristics, offers a normal grada-
tion appreciably steeper to yield more
brilliant negatives.

Regular Supreme with normal devel-
opment makes negatives with a gamma
range of .65 to .75. Supreme Type 2
with equal development yields negatives
with a gamma range of .75 to .85.

Ansco Supreme Type 2 is available
in the following sizes and lengths:
35mm x 100’, unperforated DRL; 35mm
x 200’, unperforated DRL; 70mm x
100’, unperforated DRL on #473 Core;
70mm x 100’, unperforated DRL on
#472 Core; 1.81” x 200’, single per-
foration DRL.

Art Director & Studio News / November 1953

Phenolic slides responsible
for yellow plague

Yellow cast on Ektachrome, daylight
and Ektacolor Type B, has been traced
by Eastman Kodak researchers to phe-
nolic slides in film holders.

Exposure to daylight or repeated
strobe flashes “activizes” the outside
surface of the slide. In use the slide is
normally reversed which brings acti-
vated side close to the film. This ex-
poses onto the film the plus-yellow
characteristic which plagued photog-
raphers and processors.

To avoid this reaction, it is recom-
mended that slides not be reversed
when using color film. Also slides may
be treated in 20% sodium bisulphite to
reduce the susceptibility to activation.
Clean slides thoroughly and soak in the
solution for 8-24 hours.

PSA and RIT
offer scholarships
Photographic Society of America has
set up a Scholarship Plan in conjunc-
tion with Rochester Institute of Tech-
nology. National in scope, the plan
provides several $400 scholarships (the
full annual tuition) for 1953-1954
school years.

Further information may be obtaincd
from PSA Headquarters, 2005 Walnut
St., Philadelphia 3, Pa.

NORTHWEST 8 «e
AIRLINES
~_
oe
weil mite,
\ a

Client decided to bleed Northwest

Airlines ad
because of his enthusiasm about the
art work. Painting was done by Ned
Seidler. Chartes Coltrera, Cunningham
& Walsh, was art director.

Period design at Williamsburg

“What’s American About American
Antiques?” and 18th century antiques
will be the major questions discussed
at the 1954 Williamsburg Antiques
Forum.

Two five-day sessions begin Jan. 25
and Feb. 1.

In media and as p.o.p. Riding Hood Red ad was most powerful promotion in

the history of Max Factor: sold more lipsticks of this
one color than all other colors combined, according to AD Bob Gage, Doyle-Dane-
Bernbach, New York. Photographer was Milt Green.

Prudential can guarante

monev to compfete vour child's educat

Strikes a practical note Handwriting

is that of a
child (incidentally, AD Bill Bowman
tells us that he’s had several phone
calls from children named “John M.”
who claim to have written the ad—and
wanted to collect!). Becker-Horowitz
was photographer. 4-color ad ran in
Sunday supplements and B & W in
Sunday papers. Mr. Bowman is with
Calkins & Holden, Carlock, McClinton
& Smith, New York.

=»?
|
Pe ee
(the tee
‘he ee 8 ee
hate

Recognition attained Bob Gage, AD

at Doyle-Dane-
Bernbach, originated the red “A” which
gives immediate identification to Acri-
lan. This is one of a series, all photo-
graphed by Studio Associates, New
York, which established the new name
in synthetics overnight.

422

35mm film sparks
Mercury campaign

The story of how 35mm film has been
used successfully in an extensive na-
tional advertising campaign is told in
the current issue of Leica Photography
magazine.

Entitled “A Case History of a Suc-
cessful Advertising Campaign Done in
35mm Photography,” the article tells
the how and why of the current pic-
ture-caption Mercury automobile cam-
paign. In addition to emphasizing the
versatility and economy of 35mm pho-
tography, the article points out that no
problems were encountered in reproduc-
tion and engraving.

AD’s for Kenyon & Eckhardt were
William Reinicke in New York and
Bill Johnson in Detroit. Johnson, who
wrote the story, states that he expects
to continue using the Leica and other
35mm equipment as a saver of both
time and money for the duration of
the picture campaign.

Doctor tells PSA
about stereoscope vision

Photographic Society of America (New
York Technical Division) featured at
its October meeting a talk on “Stereo-
scopic Vision and Depth Perception”.

Speaker, Dr. Arthur Linksz, stated,
“If one looks . . . with one eye only,
one does not see (things) flat. Basic
cues of depth and distance are offered
by ... the single eye and... . distribu-
tion of detail, according to laws of
geometric perspective ... Vision with
both eyes adds the quality of
steropsis (which) is significant at close
range only ... 3-D movie technique
will add to impressiveness of the inti-
mate; it will be wasted on the monu-
mental.”

Dr. Linksz, Assistant Clinical Profes-
sor, NYU Postgraduate School of Medi-
cine, went on to say, “. .. the enlarged
screen with its greater reliance on
peripheral vision probably offers great-
er possibilities.”

Rochester Conference explores
photo developments

National Press Photographers Associa-
tion and George Eastman House spon-
sored the first nation-wide meeting of
newspaper and magazine executives
aimed at exploring ways and means of
making better use of photography.
Robert Dumke of the Milwaukee
Journal described what his newspaper

is doing with the three-color printing
process which eliminates the need for
an engraving that prints with black
ink, thus saving one-third the time.

Two new films, designed for press
photographers, were discussed. One,
developed by duPont, will reduce the
need for retouching and result in better
transmission and reproduction of the
images. It is said to have a long tonal
scale and a higher red sensitivity than
former products.

The other film, Eastman Kodak’s, is
the result of a “revolution in emulsion
making” which permits the manufac-
ture of film with greater speed without
increase in graininess.

v- 7

Arthur Munn, well known art director

of New York and Phila-
delphia, died at his summer home in Sep-
tember. Born in Scranton, he came to
Philadelphia where he first worked as
a retoucher’s assistant. He did free
lance work with N. W. Ayer and even-
tually became manager of the art de-
partment there. Later he formed Young
& Rubicam in New York with some of
the Ayer people.

Mr. Munn resigned from Y & R to
form his own agency. During this
period he became associated with the
Phileo account, for which he is most
noted. He helped form the New York
Art Directors Club and later, when
back in Philadelphia, he helped organ-
ize the Philadelphia Club.

Show marks premium gain

New York Premium Show speakers em-
phasized the bigger role that premiums
are playing in advertising and selling.
Their use is the highest in the past
twenty years and substantial gains are
expected this year.

=" fo. © 2 wf © = SS

O PROVE

‘Sanforlan woouens won't suet

fo oad te

See for yourself Sanforlan won’t

shrink, so the cam-
paign demonstrates. AD Denny Cava-
naugh of Y & R, New York, had Her-
bert Matter shoot a batch of pictures
of fully clothed models submerged in a
tank of water. Series showed several
variations on this idea, showing fully
clothed girl taking a shower; two chil-
dren, dressed of course, playing in a
bathtub, etc.

N
S

Baltimore Club sponsors lectures
at Maryland Institute

Art Directors Club is sponsoring a
series of monthly lectures, visitations
and symposiums at the Maryland In-
stitute of Art during 1953-54. Program
is for advertising design, general de-
sign, fine arts illustration and fashion
illustration students.

Seattle exhibits children’s art,
discuss photoengraving

Seattle’s Art Directors Club sponsored
first annual children’s art show was
the feature of the Club’s first fall meet-
ing. Fathers of the winning children
were Robert Matthiesen and Armistead
Coleman.

After the show, the meeting became
an open forum on _ photo-engraving
techniques.

Art Director & Studio News / November 1953

ADC-NYU introduces
art direction course

Art Directors Club of New York, in
cooperation with the Division of Gen-
eral Education of New York Univer-
sity, is sponsoring a series of discus-
sions on Art and Design for Manage-
ment. The emphasis is on the art di-
rector’s role in business. Goal of the
Club is to have art direction recog-
nized as a specialized profession.

Series, already begun, meets each
Thursday evening. Discussions which
have already occurred are: Art and
Design for Management, Wallace W.
Elton; Advertising Agency Art Direc-
tion, Lester Rondell; Even Big Business
Needs an Art Director, Roy W. Tillot-
son; Publication Art Director and his
Work, Suren Ermoyan; Retail Art
Director: Sales and Merchandising Ap-
peal, Juke Goodman.

The next five sessions beginning Nov.
12, are as follows: The Television Art
Director, Georg Olden; The Free-Lance
Art Director, Lester Beall; Let’s Not
Kid Ourselves—Art is a Business, Al-
bert Dorne; Reader Research—Step-
ping Stone or Stumbling Block, Mitch
Havemeyer; Art Direction is Indispen-
sable to Management, Arthur Hawkins,
Jr.

L.A. Club begins year

First meeting of the Los Angeles Art
Directors Club featured cartoonist Vir-
gil Partch in a “chalk talk’. Saul Bass,
with the assistance of color slides, gave
a comprehensive report on the Aspen,
International Design Conference.

Chicago opens season

Initial meeting for 1953-54 of the Art
Directors Club of Chicago was a lunch-
eon with Charles W. Harper speaking
on “Does Good Design Sell in the Mass
Market?”

Awards Dinner for the 21st Annual
Exhibition will be November 11 in the
Red Lacquer Room of the Palmer
House. Jack Tinker, McCann-Erickson,
will speak on “New Horizons in Ad-
vertising”’.

Phila. exhibits in December

Art Directors Club 19th Annual Exhi-
bition of Advertising and Editorial Art
will be shown December 5 through Jan-
uary 3. at the Pennsylvania Academy
of the Fine Arts, Broad and Cherry
Streets.

For information on entries contact
the AD Club at 212 S. 15th Street.

San Francisco exhibits

Sixth Annual Exhibition of Advertis-
ing Art, sponsored by the Society of
Artists and Art Directors of San Fran-
cisco, was held through November 6.
Of 1000 entries 266 were chosen for
the show. Selected entries covered con-
sumer and trade publications, national
and regional newspapers, local and re-
tail newspapers, small space advertis-
ing, 24-sheet posters, painted bulletins,
car cards, displays, annual reports,
books, booklets, and house magazines.
In addition there were classifications
for lettering, design, editorial art and
advertising photography.

Winners had not been announced at
the time of this writing.

Washington ADs meet

First meeting .of the newly formed
Washington Art Directors Club was
held in September. Kenneth Stuart,
Art Editor of The Saturday Evening
Post, was the featured speaker.

Atlanta Club plans group insurance

Art Directors Club of Atlanta has a
tentative plan for group insurance for
its members. For further information
regarding details, contact Owen Bugg,
610 Walton Bldg., Atlanta, Ga.

chapter clips

Atlanta: Charles A. Noel, Tucker Wayne
& Co., has become a new member.

Boston: Phil Coyle of Baker Studios won
the Photo-Engravers and AD Club
award for the best cover for the Nov-
ember issue of Photo-Engravers Bul-
letin.

Chicago: Additions to the Art Directors
Club of Chicago are as follows: Gordon
D. Fisher, the Brady Company; Pa-
tricia M. Jackson, J. R. Pershal] Co.;
Melvin T. Miller, Proebstring, Taylor,
Inc.; Marcia Morris, Coventry Miller

& Olzak Ine.; Richard Schmickrath,
The Brady Co.; John Yan Auken, The
Brady Co.; Edwin R. Wentz, J. R.
Pershall Co.

Philadelphia: October meeting spes\ers
were Wallace Elton, Cecil Baumgarten,
and Don Barron (AD&SN publisher).

San Francisco: SAAD is beginning a pub-
lic speaking course for members.

21ST ANNUAL EXHIBIT
THE ART DIRECTORS CLUB
OF CHICAGO

As you review the exhibit in this year’s Art Directors’ Show, you will

be reminded again of the important role the Art Director plays in capturing the
attention of an over-exposed public. You will see here, too —in the cleaner,
more graphic images —the unmistakable influences of TV competition.

Specifically, we are most impressed with the large number of deftly handled

Trade entries. In this category, the light touch .. . the cartoon...

the uninhibited brush would seem to have achieved a freedom and an expression which is all
too seldom seen in consumer art. Perhaps another year will bring more frequent
application of this same sort of happy ingenuity to the field of consumer advertising.

It is evident from all exhibits that the graphic arts industry,
as a whole, is arriving at a sharper,

truer interpretation of its own visual medium.

Edttora Note: My Grandfather Sproat was the editor of a string of
Michigan newspapers he and his brothers owned, and if my experience of being the
edilor of this issue of ART DIRECTOR & STUDIO NEWS is any indication of what he went through every day, then

I’m glad that I’m an Art Director

EDITOR ADCC issue of AD & SN

% —Stors denote medal award winners

| )—Numbers in circles denote merit award winners

1 —Numbers denote other exhibits

A-]
*®

Art

Designer-A.D.: Andy Armstrong

Producer: Leo Burnett Company

Advertiser: Kellogg's

Artist: Andy Armstrong

Designer-A.D.: Hal Smiley

Producer: J. Walter Thompson
Company

Advertiser: Parker Pen Co.

Artist: Phoebe Moore

) Designer-A.D.: Walter Reinsel and

Neil Fujita
Producer: N. W. Ayer & Son
Advertiser: Container Corp. of
America
Artist: Arthur Williams
Designer-A.D.: Ernest C. Allen
Producer: Needham, Louis & Brorby,
Inc.
Advertiser: Morton Salt Co.
Artist: Bernard Pertchik

Director & Studio News / November 1953

PONTREDTE

COER:
CHRISTMAS
enue

-
hihdl 4 Vhs
d all “tel we}

(5) Designer-A.D.: Mack Ray

Producer: Leo Burnett Company
Advertiser: Chas. Pfizer Company
Artist: Van Baerle

A-2
#&@®) Designer-A.D.: S. Neil Fujita

Producer: N. W. Ayer & Son
Advertiser: Felt & Tarrant
Artist: Arthur Williams

:
) Designer-A.D.: John Averill

Producer and
Advertiser: Collins, Miller & Hutchings
Artist: John Averill

(8) Designer-A.D.: Chuck Hayden

Producer: N. W. Ayer & Son

Advertiser: Container Corp. of
America

Art: Barney Line and S. Neil Fujita

Designer-A.D.: Herman |. Shore
Producer: Kuttner & Kuttner
Advertiser: Plastics Engineering Co.
Artist: Franklin McMahon

Designer-A.D.: John W. Amon

Producer: Needham, Louis & Brorby,
Inc.

Advertiser: Cummins Engine Co., Inc.

Art: Norman Rich Studios

A-3
11) Designer-A.D.: Lee King

Producer: Weiss & Geller
Advertiser: H. W. Gossard Co.
Artist: Bassett

12) Designer-A.D.: Frances Owen

Producer and
Advertiser: Marshall Field & Company
Artist: Betty Barclay

4&5

Oe AT BOM

ee,

SOLO om OO

13) Designer-A.D.: Robert A. Patterson
Producer: McCann-Erickson, Inc.
Advertiser: Brunswick-Balke-

Collender Co.
Art: Leo Randell and Galvin G. Van
Lonkhuyzen

14) Designer-A.D.: Clark Maddock
Producer: McCann-Erickson, Inc.
Standard Oil Co. of Ohio

Art: Lou Federman & Associates

Advertiser

A.4

5) Designer-A.D
and Producer: Don Walkoe
Advertiser: Geeting & Fromm

Don Walkoe

Artist

16) Designer-A.D.: Lee King
Producer: Weiss & Geller
Advertiser: Luxite Lingerie
Artist: Herbert Matter

THE MOGMEST TEST Gago. we

Madd itcbpy

A-5
NO AWARDS IN THIS CLASS

A-6
NO AWARDS IN THIS CLASS
B-1
¥& 47) Artist: Hans Erni
Art Director: Paul Smith
Producer and
Advertiser: Rand McNally & Co.—
Edwin Snyder
Artist: LeRoi Nieman
Art Director: Frances Owen
Producer and
Advertiser: Marshall Field & Company

Artist: Henry Wenclawski

Art Director: Hal Paus

Producer: Henry Wenclawski

Advertiser: Advertising Division, U.S.
Savings and Loan League

B-2
¥%& 20) Artist: Fred Conway

wt
nw

Art Director: Walter Reinsel

Producer: N. W. Ayer & Son

Advertiser: Container Corp. of
America

Artist: Jean Varda
Art Directors: Walter Reinsel and S.
Neil Fujita
Producer: N. W. Ayer & Son B.
Advertiser: Container Corp. of
America
Artist: Lily Harmon ¢
Art Director: R. Blayne McCurry
Producer and
Advertiser: Abbott Laboratories

23) Artist: William Gropper

Art Director: R. Blayne McCurry
Producer and

Advertiser: Abbott Laboratories
Artist: H. Charles McBarron
Producer: Stevens-Gross Studio
Advertiser: Esquire Magazine

B-

B-
Ke (20

\ Bi Chew] r le

2
NO MEDAL AWARDS
NO MERIT AWARDS
4
Artist: Bernie Pertchik
Art Director: Bernard Anastasia
Producer: Campbell-Mithun, Chicago
Advertiser: American Dairy Assn.
5
Artist: Dale Maxey
Art Director: Frank Follmer
Producer and
Advertiser: The Rotarian Magazine

7) Artist: Adolf Dehn

Art Director: F. W. Goessling
Producer and

Advertiser: Abbott Laboratories
Artist: Franz Altschuler

Art Director: Marilynn Knudson
Producer: Franz Altschuler
Advertiser: Scott, Foresman & Co.

Art Director & Studio News /

November 1953

C-]

NO MEDAL AWARD

29) Photographer: Kenneth Heilbron

Art Director: Frances Owen
Producer: Kenneth Heilbron
Advertiser: Marshall Field & Co.

Photographer: Ben Rose

Art Director: Marvin Potts

Producer: Foote, Cone & Belding

Advertiser: Hiram Walker
Inc.

Photographer: William Richards
Art Director: Clark Maddock
Producer and

Advertiser: McCann-Erickson, Inc.

Photographer: Karl Oeser
Art Director: Dick Weiner
Producer: Sarra, Inc.
Advertiser: The Pullman Co.

& Sons,

C.2
¥% 33) Photographer: Jim Carl
Art Directors: Bob Miller
Wood
Producer: N. W. Ayer & Son
Advertiser: Caterpillar

oS)

and Bill

Photographer: Jim Carl

Art Directors: Scott Runge and Bill
Wood

Producer: N. W. Ayer & Son

Advertiser: Caterpillar

Photographer: Cle Clark

Art Director: Al Scott

Producer: Campbell-Ewald, Detroit

Advertiser: Champion Paper Co.

Photographer: Genevieve Naylor
N.Y.

Art Director: Dean Coyle, N.Y.

Producer: D'Arcy Advertising
Company

Advertiser: Coca Cola
ry)

Jeb + Me we aed Mewes 16 ave raetone

gives greatest valwe today!
Me I me

37) Photographer: d'Arazin
Edward Spahr

5 ‘
Producer: Ketchum, Macleod &

Art Director

rove, Inc

A
or etal R yoy 7
Advertise jones & Laiat r

38) Photographer: Herbert Matter

Art Director: Lee King

Producer: Weiss & Gel er

Advertiser Moleporoot Mosiery CoO
9 Photographer: William Richards
Art Director Fred H. Stickle
Produce or & mith & Ross -
Producer: Fuller & Sn . Ross, Inc
A an. . 2 \
Advertiser VVestir el use Electric
Corr

40 Photography: Bob Elmore and Bill
4
Meyers

Art Director: Frances Owen

er emeny tee

PMewhution with « memnr\

fou “WHE

?
|
>
@
Producer and Producer: Leo Burnett Co.
Advertiser: Marshall Field & Co Advertiser: Pillsbury
41) Photographer: William Richards C5
Art Director: Fred H. Stickle —
, Lg ¥%& (45) Photographer: Bertrand Miles
Producer: Fuller & Smith & Ross, Inc ;
, \A/ \ Art Director: Le Roy Winbush
Advertiser: Westinghouse Electric
pa Producer: Ebony Mogazine
Cor gozi
Advertiser: Johnson Publishing Co.
C-4
3) Photoaran Hal 5 Vesle
42) Photographer: Hal Bacon, Wesley i) Photographer: Wesley Bowman
i csicamen Missiles C
a -eaieatita Studio Art Director: John Wilber
Art Director: W. W. Johnston Producer: Tempo, ine ,
Producer ouna & hican
a y a & Rubicam Advertiser: Armstrong Cork Co.
Advertiser: Zenith Radio Corp Colorful livien
43) Photographer: A. George Miller :
Art Director: James G. Sherman 47) Photographer: Wesley Bowman
Producer: McCann-Erickson, Inc Art Director: Harriet Roseman
Advertiser: Swift & Company Beckman
44) Photographer: Van Baerle Producer: Tempo, Inc

Art D rector Byron Drachman

Advertiser: United States Gypsum Co.

= cial al

A. Design of Complete Advertisement

A-|
6. Designer-A.D.: Marce Mayhew and

™N

Art Director & Studio News /

or Unit in:

1. MAGAZINES

Paul Smith

Producer and Edwin Snyder—Rand

Advertiser: McNally & Co.

. Designer-A.D.; Robert D. Dohn

Producer: Foote, Cone & Belding
Advertiser: Beatrice Foods Co.
Artist: Mary Blair

Photographer: Charles F. Kuoni Studio

Artist

Designer-A.D.: Harry Lindemann

Producer: Krupnick & Associates
Advertiser: Reardon Paint Co.

Designer-A.D.: Paul Darrow

Producer: N. W. Ayer & Son
Advertiser: General Mills
Artist: Tana Haban

. Designer-A.D.: Clark L. Robinson

Producer: Fuller & Smith & Ross
Advertiser: Otto Konigslow
Artist: Andrew Lee

. Designer-A.D.: Walter Reinsel

Producer: N. W. Ayer & Son
Advertiser: Container Corp. of
America

Artist: McNight Kauffer

Artist

Designer-A.D.: Irving Titel

Producer: Irving Titel
Advertiser: James B. Beam Distilling
Co.
Agency: Burton Browne Adver-
tising Agency

. Designer-A.D.: Paul Smith
Producer and Edwin Snyder—

Advertiser: Rand McNally & Co.
Artist: Charles Adorney
Agency: Calkins & Holden Car-
lock, McClinton &
Smith
Artist

Designer-A.D.: Walter Reinsel

Praducer: N. W. Ayer & Son
Advertiser: Container Corp. of
America

. Designer-A.D.: Mack Ray

Producer: Leo Burnett Co.
Advertiser: Chas. Pfizer Co.
Artist: Van Baerle

. Designer-A.D.: Hal Smiley

Producer: J. Walter
Co.
Advertiser: Parker Pen Co.
Artist: Dale Maxey

Thompson

. Designer-A.D.: John W. Amon

Producer: Needham, Louis &
Brorby, Inc.
Advertiser: Marathon Corporation

November 1953

20.

22.

02s.

24.

26.

27.

28.

29.

Artist:

. Designer-A.D.:

Producer:
Advertiser:
Photographer:

. Designer-A.D.:

Producer:
Advertiser:

Artist:
Designer-A.D.:
Producer:
Advertiser:
Agency:

. Designer-A.D.:

Producer:
Advertiser:
Artist:
Designer-A.D.:
Producer and
Advertiser:
Artist:
Designer-A.D.:
Producer:
Advertiser:

Artist:

Designer-A.D.:
Producer:
Advertiser:

Artist:
Photographer:

. Designer-A.D.:

Producer:
Advertiser:
Artist:

Designer-A.D.:
Producer:
Advertiser:
Artist:

Designer-A.D.:
Producer:
Advertiser:
Artist:
Designer-A.D.:
Producer:

Advertiser:
Artist:

Artist
Designer-A.D.:
Producer:
Advertiser:

John Howard—
Sundblom, Johnston &
White

Richard E. Owen
McCann-Erickson, Inc.
Swift & Co.

A. George Miller—
Sarra, Inc.

Wilbur Smart

D'Arcy Advertising
Company

The Coca Cola
Company

John Howard

Louis H. Ingwersen
Faithorn Corp.

Kraft Foods Co.

J. Walter Thompson
Co.

Chuck Ax

N. W. Ayer & Son
United Air Lines

Ray Ballinger

Paul Smith

Edwin Snyder—
Rand McNally & Co.
Marce Mayhew

Al Palmer

Young & Rubicam, Inc.
Elgin National Watch
Co.

Archie Freedman,

Paul D'Ome Studio
Robert D. Dohn
Foote, Cone & Belding
Beatrice Foods
Company

Mary Blair

Charles F. Kuoni

Andy Armstrong

Leo Burnett Co.
Kellogg Co.

Hi Williams & Assoc.

Andy Armstrong

Leo Burnett Company
Kellogg Co.

Alice and Martin
Provenson

Richard Weiner
Young & Rubicam, Inc.
The Pullman Co.
Whitney Darrow, Jr.
Ernest C. Allen
Needham, Louis &
Brorby, Inc.

Morton Salt Co.
Bernard Pertchik

Gordon Fisher

The Brady Company
Whiting-Plover Paper
Company

30. Designer-A.D.:

Producer: J. Walter ThompsonCo.

Advertiser:

Artist:

a Artist
Designer-A.D.:
Producer and
Advertiser:

32. Designer -A.D.:
Producer and
Advertiser:

Artist:

Agency:

33. Designer-A.D.:
Producer and
Advertiser:

Artist:

Agency:

34. Designer-A.D.:
Producer:
Advertiser:

Artist:

35. Designer-A.D.:
Producer:

Advertiser:

Artist:

36. Designer-A.D..:
Producer:
Advertiser:
Photographer:

2. TRADE

A-2
42. Designer-A.D.:
Producer:
Advertiser:
Artist:
43. Designer-A.D.:
Producer:
Advertiser:
Artist:
44. Designer-A.D.:
Producer:
Advertiser:

Artist:

45. Artist
Designer-A.D.:
Producer and
Advertiser:

46. Designer-A.D
and Producer:
Advertiser:

Artist:

Agency:

47. Designer-A.D.:
Producer:
Advertiser:

Artist:

George Allen

Weco Products Co.
Morton Berger

Ernest C. Allen
Needham, Louis &
Brorby, Inc.

Paul Smith

Edwin Snyder—Rand
McNally & Co.
Hans Erni
Calkins & Holden, Car-
lock, McClinton & Smith
Paul Smith
Edwin Snyder—Rand
McNally & Co.
Chesley Bonestell
Calkins & Holden, Car-
lock, McClinton & Smith
Harry Lindemann
Krupnick & Associates
Bank Building & Equip-
ment Corp.

Cassel Watkins and
Stevens

Ernest C. Allen
Needham, Louis &
Brorby, Inc.
Morton Salt Co.
Bernard Pertchik
Andy Armstrong
Leo Burnett Company
Kellogg Co.
Charles Kuoni

PERIODICALS

Bob Seitas
McCann-Erickson, Inc.
Perfection Stove Co.
Ted Gorka
Bob Seitas
McCann-Erickson, Inc.
Perfection Stove Co.
Ted Gorka

Chuck Hayden

N. W. Ayer & Son
Container Corp. of
America

Milt Fisher

John Averill
Collins, Miller &
Hutchings, Inc.

Helmut Boenisch
Whiting Corp
Henry Ziolkowsk
Waldie, Briggs, Inc
Robert A. Patteron
McCann-Erickson, Inc
Bell and Howell
Stephen Heiser

48. Designer-A.D.: Clark L. Robinson

49.

51.

52.

54.

55.

56.

57.

Producer:
Advertiser:
Artist:

Designer-A.D.:
Producer:

Advertiser:
Artist:

. Designer-A.D.:

Producer:

Advertiser:
Artist:

Agency:
Designer-A.D.:

Producer:

Advertiser:
Artist:

Artist
Designer-A.D.:
Producer and
Advertiser:

. Designer-A.D.:

Producer:
Advertiser:
Artist:

Artist
Designer-A.D.:
Producer:
Advertiser:
Agency:

Designer-A.D.:
Producer and
Advertiser:
Artist:
Designer-A.D.:
Producer:

Advertiser:

Artist:

Artist
Designer-A.D.:
Producer:
Advertiser:

. Designer-A.D.:

Producer:
Advertiser:

Artist:

Fuller & Smith & Ross
Alcoa

Fortune Illustrators—
Federman Studios

John W. Amon
Needham, Louis &
Brorby, Inc.
Cummins Engine Co.
Norman Rich Studios

Bob Flatley and Stanley
Paul
Whitaker-Guernsey
Studio
Fairbanks-Morse
William Silet and Tom
Hoyne

The Buchen Company

Dan Smith—Poole
Bros., Inc.

Whitaker Guernsey
Studio

Abbott Laboratories
William Silet and Bob
Keys

Bill Fleming
Collins, Miller &
Hutchings

Dean Straka and
Egbert Jacobson

N. W. Ayer & Son
Sefton Fibre Can Co.
Franklin McMahon

Norman C. Harris
Norman C. Harris
IDEA, Regency
Burton Browne Adv.
Agency

F. W. Goessling

Abbott Laboratories
Darrill Connelley

George Goldberg
Earle Ludgin &
Company
International
Co.

Phoebe Moore

Furniture

Larry Zink
Ralph H. Jones Co.
Crosley Broadcasting

Co.

Larry Zink and Bob
Hayes

Ralph H. Jones Co.
Crosley Broadcasting
Co.

Larry Zink

59.

60.

6}.

62.

63.

64.

65.

66.

67.

68.

69.

70.

Artist
Designer-A.D.:
Producer:
Advertiser:

Designer-A.D.:

Producer:
Advertiser:
Artist:

Artist
Designer-A.D.:
Producer:
Advertiser:

Designer-A.D.:
Producer:
Advertiser:
Artist:

Artist
Designer-A.D.:
Producer:
Advertiser:

Designer-A.D.:
Producer:

Advertiser:
Artist:

Agency:

Designer-A.D.:
Producer:

Advertiser:
Artist:

Agency:

Designer-A.D.:
Producer:

Advertiser:

Artist:
Agency:
Designer-A.D.:
Producer:
Advertiser:
Artist:
Designer-A.D.:
Producer:

Advertiser:
Artist:

Designer-A.D.:
Producer:

Robert T. Hayes

Ralph H. Jones Co.
Crosley Broadcasting
Co.

Sam Cohen and Lee
King

Weiss & Geller

Inland Steel

Bob Keys

Larry Zink

Ralph H. Jones Co.
Crosley Broadcasting
Co.

S. Paul

Buchen Company
Fairbanks-Morse
J. Kapes

Lee King

Weiss & Geller
Inland Steel
Gordon Mellor

R. H. Milburn

C. Franklin Brown

The United Electric
Coal Companies

Lee King
Whitaker-Guernsey
Studio

General American
Transportation Co.
William Silet and Bruce
Beck

Weiss & Geller

Lee King
Whitaker-Guernsey
Studio
General American
Transportation Corp.
William Silet

and Dale Maxey
Weiss & Geller

Lee King

Whitaker Guernsey
Studio

General American
Transportation Corp.
William Silet

Weiss & Geller

F. W. Goessling
Bert Ray Studios
Abbott Laboratories
Carl Regehr

John W. Amon
Needham, Louis &
Brorby, Inc.

Marathon Corporation
Bielefeld Studios

Stanley Paul
Buchen Company

72.

73.

74.

75.

76.

78.

80.

—_

82.

A-3

Advertiser:
Artist:
Designer-A.D.:
Producer:
Advertiser:
Artist:
Designer-A.D.:
Producer and
Advertiser:
Artist:
Designer-A.D.:
Producer:
Advertiser:
Artist:
Designer-A.D.:
Producer:
Advertiser:

Artist:
Designer-A.D.:

Producer:

Advertiser:

Designer-A.D.:

Producer:
Advertiser:
Artist:

Artist
Designer-A.D.:
Producer and
Advertiser:

Artist

Designer-A.D.:
Producer and
Advertiser:
Artist
Designer-A.D.:
Producer:
Advertiser:

Designer-A.D.:
Producer:
Advertiser:
Artist:

. Designer-A.D.:

Producer:
Advertiser:
Artist:
Designer-A.D.:
Producer:
Advertiser:
Artist:

Fairbanks-Morse
Francis Chase

Herman |. Shore
Kuttner & Kuttner
Royal Metal Mfg. Co.
James Teason

F. W. Goessling

Abbott Laboratories
Darrill Connelley
Clark L. Robinson
Fuller & Smith & Ross
Alcoa

Federman & Associates

lee King

Weiss & Geller
General American
Transportation Corp.
Bruce Beck

Albert Quinlan and Ken
Meng

Gardner Advertising
Co.

Monsanto

Chemical Co.

Sam Cohen and Lee
King

Weiss & Geller
Inland Steel

Dale Maxey

Bruce Beck
Collins, Miller &
Hutchings

John Averill
Collins, Miller &
Hutchings, Inc.

Carl Regehr

Bert Ray Studios
Runkle, Thompscn,
Kovats

Frank Johnson
Foote, Cone & Beldii
Armour and Compar
John Howard
Robert A. Patterson
McCann-Erickson, In:
Bell and Howell
Wilfred W. Spears
Stanley Paul

Buchen Company
Fairbanks-Morse
Francis Chase

A3. NEWSPAPER

87. Designer-A.D.: Clark L. Robinson

Producer:
Advertiser:

Artist:

Fuller & Smith & Ross
Otto Konigslow Mfg.
Co.

Andrew Lee

88.

89.

90.

92.

93.

94,

95.

96.

97.

98.

7?.

Designer-A.D.:
Producer:

Advertiser:
Photographer:

Designer-A.D.:
Producer:

Advertiser:
Photographer:

Designer-A.D.:
Producer:
Advertiser:
Artist:

. Designer-A.D.:

Producer:

Advertiser:
Artist:
Designer-A.D.:
Producer and
Advertiser:
Artist:

Designer-A.D.:

Producer and
Advertiser:
Artist:
Designer-A.D.:
Producer:

Advertiser:
Artist:

Designer-A.D.:
Producer and
Advertiser:
Artist:

Designer-A.D.:
Producer:

Advertiser:
Artist:

Designer-A.D.:
Producer:
Advertiser:

Artist:

Designer-A.D.:
Producer:
Advertiser:
Artist:
Agency:

Designer-A.D.:
Producer and
Advertiser:
Artist:

Art Director & Studio News

George L. Farrell—
Tempo Studio

Smith, Benson &
McClure, Inc.
Sterling Brewers, Inc.
Sarra, Inc.

E. Willis Jones—
George L. Farrell
Smith, Benson &
McClure, Inc.

Sterling Brewers, Inc.
Sarra, Inc.

David Wylie

Young & Rubicam, Inc.
The Borden Co.

Dale Maxey

Marilynn Casey
Hoskinson-Rohloff &
Associates

Carson Pirie Scott & Co.
John Morehouse

Frances Owen
Frances Owen—
Marshall Field & Co.
Marcie Miller

Frances Owen—
Marshall Field & Co.
Frances Owen—
Marshall Field & Co.
Marcie Miller

Robert Bonk
Needham, Louis &
Brorby, Inc.

Marathon Corp.Waxtex
Dale Maxey—Whita-
ker Guernsey Studio

Frances Owen
Frances Owen—
Marshall Field & Co.
Lynne Parke

Marilynn Casey
Hoskinson-Rohloff &
Associates

Carson Pirie Scott & Co.
Lu Peters

Gordon Fisher

The Brady Company
Wisconsin Public Serv-
ice Corporation
Howard Losse

Jack Amon

Henry Wenclawski
Marathon Corp.
Henry Wenclawski
Needham, Louis &
Brorby, Inc.

Willa Munzel
Lytton's
Hoskinson-Rohloff &

Associates

/ November 1953

100. Designer-A.D.: Willa Munzel
Producer & Art: Hoskinson-Rohloff &
Associates
Advertiser: Lytton's
101. Producer &
Designer-A.D.: Willa Munzel
Advertiser: Lytton’s
Artist: Jack Bierman and
Kenneth Heilbron

102. Designer-A.D.: Lee Stanley
Producer: Leo Burnett Company
Advertiser: Procter & Gamble
Artist: Ruzzie Green

103. Designer-A.D.: John Laver
Producer: Earle Ludgin & Co.
Advertiser: Jules Montenier, Inc.
Artist: Ratph Cowan—The
Cartoonists

104. Designer-A.D.: Clark Maddock
Producer: McCann-Erickson, Inc.

Advertiser: Standard Oil Co. of
Ohio
Artist: Lou Federman &
Associates

105. Designe?-A.D.: E. Willis Jones—
George L. Farrell
Producer: Smith, Benson &
McClure, Inc.
Advertiser: Sterling Brewers, Inc.
Photographer: Sarra, Inc.

106. Designer-A.D.: John Laver
Producer: Earle Ludgin & Co.
Advertiser: Earle Ludgin & Co.
Artist: Ralph Cowan

107. Designer-A.D.: D. Clineff and Flatley
Producer and
Advertiser: Buchen Company
Artist: Promotional Arts Studio

108. Designer-A.D.: Clark Maddock
Producer: McCann-Erickson, Inc.
Advertiser: The Standard Oil Co.
of Ohio
Artist: Ted Gorka

109. Designer-A.D.: Clark Maddock
Producer: McCann-Erickson, Inc.
Advertiser: The Standard Oil Co.
of Ohio
Artist: Ted Gorka

110. Designer-A.D.: Lee Stanley
Producer: Leo Burnett Company
Advertiser: Procter & Gamble
Artist: Ruzzie Green

111. Designer-A.D.: Dex Briggs
Producer: Maxon, Inc.
Advertiser: Griesedieck
Brewery Co.
Artist: Cartoonists, Inc.

112. Designer-A.D.: John Clayton
Producer: Young & Rubicam, Inc.
Advertiser: The Borden Company

Artist: Jackie Mastri

Western

113. Designer-A.D.:
Producer:
Advertiser:

Artist:

114. Designer-A.D.:
Producer:
Advertiser:

Artist:

A4. DIRECT MAIL

A-4
117. Designer-A.D.:
Producer and
Advertiser:
Artist:

118. Designer-A.D.
and Producer:
Advertiser:

Artist:
Photographer:

119. Designer-A.D.
and Producer:
Advertiser:

Artist:

120. Designer-A.D.:
Producer and
Advertiser:

Artist:

124. Artist:
Designer:

Art Director:
Producer:

Advertiser:
Agency:

122. Designer-A.D.:
Producer:
Advertiser:

Artist:

Agency:

123. Designer-A.D.:
Producer:
Advertiser:

Artist:
124. Designer-A.D.:
Producer and

Advertiser:
Artist:

125. Designer-A.D.:

Producer and
Advertiser:
Photographer:

Dave Lind

McCann-Erickson, Inc.

Standard Oil Co. of
Ohio

Lou Federman &

Associates

Lee King

Weiss & Geller
H. W. Gossard Co.
Bassett

Helen Warner
Helen Warner—
Eli Lilly & Co.
Paton Studio

James McCray
Paine Lumber Co. Ltd.
Dave Foster
Gordon Coster and
Wesley Bowman

Phoebe Moore
Phoebe Moore
Phoebe Moore
Susan Karstrom
Science Research
Associates

Ed Carini

Dale Maxey
Bill Silet
Howard Peck
Whitaker-Guernsey
Studio

Parker Pen Co.
Edwin Shields Hewitt &
Associates
Paul Sieber
Don Walkoe
Journal of American
Medical Association
Don Walkoe
Jordan-Sieber
Herbert Pinzke
Tempo, Inc.
United States Brewers
Foundation, Inc.
James McCray

R. D. Tucker

Abbott Universal Ltd.
W. Fleming and Arnold
Ryan

Burton Cherry and
Dick Koehler

The Cuneo Press
Torkel Korling, Richard
Avedon and Maynard
Parker

126. Designer-A.D.:
and Producer:
Advertiser:
Artist:

127. Designer-A.D.
and Producer:
Advertiser:
Artist:
Agency:

128. Designer-A.D.
Artist &
Producer:
Advertiser:

Agency:

. Designer-A.D.:
Producer:
Advertiser:
Artist:

130. Designer-A.D
Producer

Advertiser

Artist:
Photographer

131. Designer-A.D.:
Producer and
Advertiser

Artist:

132. Designer-A.D

Producer

Advertiser

Artist

133 Artist-
er-A.D

Producer

A r r

r-A.|

1 Producer

tiser

agucer

Everett McNear—
Henry D. Hewey
Illinois Power Co.
Everett McNear and
A. G. Westelin

Bob Fryml

A. O. Smith
Phoebe Moore
Henri-Hurst &
McDonald

Paul Sieber

Don Walkoe
Journal of the
American Medical
Association
Jordan-Sieber

Paul and Flatley
Buchen Company
Fairbanks-Morse
Francis Chase

Bruce Beck
Whitaker-Guernsey
Studio

Passavant Hospital
Robert Keys
Stephen Heiser
Walter Howe—
Doug lang

R. R. Donnelley & Sons
Company

Tempo, Inc

Robert Bruce Crippin
Dekovic-Smith
Kiwanis International
Harry B. Smith

Dean P. Wessel

Ray Shaffer Studio, Inc.
Artists Guild of
Chicago

Gordon Martin
The Type Shop
Gordon Martin

r: Morton Goldsholl

Martin-Senour Paints
Aorton Goldsholl

FW Goessling
Rert Ray Studios
LADO

=e
nnelly

A
Abt ++

ratories

Darr

Mortor G sldsho!
Gothic Press
Morton Goldsholl

Harry R Sm aa

Dekov c-Smitt

leritane

139. Designer-A.D.: Hal Smiley

140.

Producer: J. Walter Thompson
Co.
Advertiser: Art Directors Club of
Chicago
Artist: Art Director Service

5. DISPLAY PIECES AND
MISCELLANEOUS
Designer-A.D.
and Producer:
Advertiser:

Gene Douglas
Society of Typographic
Arts

Artist:

141. Artist-
Designer-A.D.:
Producer:
Advertiser:

A-6
142. Designer-A.D.:
Producer:
Advertiser:
Artist:
Designer-A.D.:
Artist and
Producer:
Advertiser:

143.

144. Designer-A.D.:
Producer:
Artist:

Artist
Designer-A.D.:
Producer:

145.

Advertiser:

Gene Douglas

Harry B. Smith
Dekovic-Smith
Windin’ Ball Recordings

6. EDITORIAL DESIGN

Richard Seeger
Promotional Arts, Inc.
Pabst Blue Ribbon
Norbert Smith
Charles Turzak

Arthur Paul

American Medical As-
sociation
Richard Koehler
John Quinn

The Cuneo Press
John Quinn

and

Fleming Brown
Herbert Baker Adver-
tising

Wawak Company, Inc.

Producer and
Advertiser:
Artist:

152. Designer-A.D.
and Producer:
Advertiser:

Artist:

153. Designer-Artist:

Art Director:
Producer:
Artist-
Designer-A.D.:
Producer:

154.

Advertiser:
Designer:

Art Director:
Producer and
Advertiser:
Artist:
Designer:

Art Director:
Producer and
Advertiser:
Artist:

157. Designer-A.D :
Producer:
Advertiser:

155.

156.

Artist:

Abbott Laboratories
Segovia

Frank Bercker—

Frank Bercker Studios

Milwaukee Advertising

Club

David S. Broad

John Quinn

Burton Cherry

The Cuneo Press, Inc.

Bruce Beck
Whitaker-Guernsey
Studio

Print Magazine

M. Martin Johnson
F. W. Goessling

Abbott Laboratories
Wallace Reiss
Morton Goldsholl
F. W. Goessling

Abbott Laboratories

Ben Shahn

Robert Bruce Crippen
Kiwanis International

Kiwanis International
Magazine 7
Howard Mueller

158. Designer-A.D.: A. H. Kiefer

Producer and A. H. Kiefer—Eli Lilly

Advertiser: & Co.
Art: Paton Studios
B. Art... Advertising and Editorial

1. GENERAL SUBJECT MATTER
BLACK AND WHITE

146.

147.

148.

149,

150.

15).

Designer-A.D.: Burton Cherry and
Dick Koehler
Producer and Dick Koehler—The
Advertiser: Cuneo Press, Inc.
Artist: Dick Koehler
Designer-A.D.: F. W. Goessling and
William Fleming
Producer and
Advertiser: Abbott Laboratories
Artist: Walter Stuempfig
Designer-A.D.: James McCray
Producer: Tempo, Inc.
Advertiser: Inland Steel Co.
Artist: Franklin McMahon and
Tempo Staff
Designer-A.D.: Robert Bruce Crippen
Producer: Kiwanis International
Advertiser: The Kiwanis Magazine
Artist: Howard Mueller
Designer-A.D.: F. W. Goessling—
DeForest Sackett
Producer and
Advertiser: Abbott Laboratories
Designer: Gerald Schueneman
Art Director: F. W. Goessling

B-1
162. Artist:
Art Director:

Producer:
Advertiser:
Artist:

Art Director:
Producer:
Advertiser:
Artist:

Art Director:
Producer:
Advertiser:

163.

164.

Artist:

Art Director:
Producer and
Advertiser:
Agency:

165.

Artist:

Art Director:
Producer:
Advertiser:
Agency:

166.

John Averill

Frank Johnson

Foote, Cone & Belding »
Armour & Company
Fred Steffen

Robert A. Patterson
McCann-Erickson, Inc.
Bell and Howell
Marshall Goodman
Martin M. Krein
Foote, Cone & Belding
Minneapolis Honeywell
Regulator Company
Marce Mayhew

Pau! Smith

Edwin Snyder—Rand
McNally & Co.
Calkins & Holden, Car-
lock, McClinton & Smith
Franklin McMahon
Marvin Potts

Franklin McMahon
Hiram Walker

Foote, Cone & Belding

167.

169.

170.

171.

172.

173.

174.

175.

176.

177.

178.

179.

ng 168.

Art Director & Studio News /

Artist: Bob O'Reilly
Art Director: R. Bosley
Producer: Buchen Company
Advertiser: Des Moines Register

Artist: Irving Nurick
Art Director: Don L. Ruf
Producer: Foote, Cone & Belding
Advertiser: International Cellucot-
ton Products Company

Artist: Dale Maxey
Art Director: Frank Johnson
Producer: Foote, Cone & Belding
Advertiser: Armour & Company

Artist: Tom Hoyne
Art Director: Orville Sheldon
Producer: Whitaker Guernsey
Studio
Advertiser: U. S. Treasury

Artist: Larry Reynolds
Art Director: Martin M. Krein
Producer: Foote, Cone & Belding
Advertiser: Minneapolis Honeywell
Regulator Company

Artist: Anthony Saris
Art Director: Mickey Strobel
Producer: Foote, Cone & Belding
Advertiser: Kimberly-Clark
Corporation

Artist: Marvine
Art Director: Melvin T. Miller
Producer: Proebsting, Taylor, Inc.
Advertiser: Illinois Power Company

Artist: Luther Johnson
Art Director: Seymour Levine
Producer: Foote, Cone & Belding
Advertiser: The First National Bank
of Chicago
Artist: Richard Hook
Art Director: Martin M. Krein
Producer: Foote, Cone & Belding
Advertiser: Minneapolis Honeywell
Regulator Co.

Artist: Jim Cummins
Art Director: Harry Lindemann
Producer: Krupnick & Associates
Advertiser: Mercantile Trust Co.

Artist: Jean Flowers
Art Director: Robert Thurn
Producer: Gardner Advertising
Company
Advertiser: Bemis Bro. Bag Com-
pany
Artist: Bruce Beck
Art Director: Stanley Paul
Producer: Buchen Company
Advertiser: Chicago Title & Trust
Co.

Artist: Le Roi Nieman
Art Director: Frances Owen

Producer and

Advertiser: Marshall Field & Co.

November 1953

180.

181.

182.

183.

184.

185.

186.

187.

188.

189.

190.

Artist:
Art Directors:

Producer:

Advertiser:
Agency:
Artist:

Art Director:
Producer:
Advertiser:

Artist:

Art Director:
Producer and
Advertiser:
Artist:

Art Director:
Producer:
Advertiser:

Artist:
Art Director:
Producer:

Advertiser:
Artist:

Art Director:
Producer and
Advertiser:
Agency:

Artist:
Art Director:
Producer:

Advertiser:
Agency:

Artist:

Art Director:
Producer:
Advertiser:

Artist:
Art Director:
Producer:

Advertiser:
Agency:

Artist:

Art Director:
Producer:

Advertiser:

Dale Maxey

Dex Briggs and Bill
Wilson
Whitaker-Guernsey
Studio

Hotpoint

Maxon, Inc.

Jim Cummins and Staff
Harry Lindemann
Krupnick & Associates
Bank Building & Equip-
ment Corp.

Dorothy P. Christy
Frances Owen

Frances Owen—
Marshall Field & Co.

Kling Studios
Clineff and Flatley

Buchen Company

Lucia

Don L. Ruf

Foote, Cone & Belding
International Cellucot-
ton Products Company

Lucia

Dave Lockwood
Stephens, Biondi &
De Cicco

Delsey

Chesley Bonesell

Paul Smith

Edwin Snyder—Rand
McNally & Co.
Calkins & Holden, Car-
lock, McClinton & Smith
Bob Keys

Wynn Belford
Whitaker-Guernsey
Studio

Beloit Iron Works
Howard H. Monk &
Associates

Luther Johnson
Seymour Levine
Foote, Cone & Belding
The First National Bank
of Chicago

Bob Keys

Frank Westbrook
Whitaker-Guernsey
Studio

W. C. Ritchie Co.
Fulton, Morrisey
Company

Robert Addison—
Stevens Gross Studio
George Zahour
Needham, Louis &
Brorby, Inc.

State Farm Insurance

Co.

191.

192.

193.

194.

195.

196.

197.

198.

199.

200.

201.

202.

Artist:
Art Director:
Producer:

Advertiser:

Art:

Art Director:
Producer:
Advertiser:

Art:

Art Director:
Producer:
Advertiser:

Artist:

Art Director:
Producer:
Advertiser:

Artist:

Art Director:
Producer:
Advertiser:

Artist:

Art Director:
Producer and
Advertiser:
Agency:

Artist:

Art Director:
Producer and
Advertiser:
Agency:

Artist:

Art Director:
Producer:
Advertiser:
Artist:

Art Director:
Producer:

Advertiser:
Artist:

Art Director:
Producer:
Advertiser:

Artist:
Art Director:

Producer:
Advertiser:

Artist:
Art Director:
Producer:

Advertiser:

John Averill
Frank Johnson
Foote, Cone & Belding,
Inc.

Armour & Company

Cartoonists, Inc.
Stanley Paul
Buchen Company
Simmons Company

Luther Johnson
Seymour Levine
Foote, Cone & Belding
The First National
Bank of Chicago

Charles Adorney
Paul Smith

Edwin Snyder—
Rand McNally & Co.
Calkins & Holden,
Carlock, McClinton &
Smith

Wayne Colvin
Paul Smith
Edwin Snyder—
Rand McNally & Co.
Calkins & Holden,
Carlock, McClinton &
Smith

Andrew Lee

Clark L. Robinson
Fuller & Smith & Ross
Diamond Alkali

Bob Keys

Frank Johnson
Whitaker-Guernsey
Studio

Armour & Co.

Joe Pearson

Melvin T. Miller
Proebsting, Taylor, Inc.
Illinois Power Company

Ralph Ballantine —
Kling Studios, Inc.
Seymour Levine

Foote, Cone & Belding
The First National
Bank of Chicago

Bruce Beck

Frank Johnson
Foote, Cone & Belding,
Inc.
Armour and Company

Artist:

Art Director:
Producer:
Advertiser:

203

Artist:
Art Director:
Producer:

204

Advertiser

Artist

Ari Director

Producer:

Advertiser

Artist
Art Director:
Producer and

206
Advertiser

7 Artist
Art Director:

Producer and
Advertiser

Luther Johnson
Seymour Levine
Foote, Cone & Belding
The First National
Bank of Chicago
Tom Hoyne

Orville Sheldon
Whitaker-Guernsey
Studio

U. S. Treasury
Charles Miller—
Sundblom, Johnston &
White

George Zahour
Needham, Louis &
Brorby, Inc

State Farm Insurance
Company

Winnie Fitch

Frances Owen

Frances Owen—
Marshall Field & Co.
Dorothy P. Christy
Frances Owen
Frances Owen—
Marshall Field and
Company

2. GENERAL SUBJECT MATTER

COLOR

W op

Artist

Le)

Art Director
Producer
Advertiser

14 Artist

ft) rector

Reva Rice
Norman Houk

Leo Burnett Co.
Kellogg Co.
Albert Pucc

R. Blayne McCurry

Abbott Laboratories

McMahon

—_

)

>eorge Elin and Mary
ice McKune

ranklin McMahon
Aarshall Field & Co
Franklin McMahon
Dean Straka
McMahon
Container Corporation
of America

Ayer & Son

Zrr>o

Franklin

A Ay

Dale Maxey
loseph Dettling

Whitaker-Guernsey
Studic

ratories

219.

220.

221.

223.

225.

226.

227.

228

229.

730

Artist:

Art Director:
Producer:
Advertiser:
Artist:

Art Djrector:
Producer:

Advertiser:

Artist:
Art Director:
Producer:

Advertiser:

Artist:

Art Director:
Producer:
Advertiser:
Artist:

Art Director:
Producer:

Advertiser:

Artist:
Art Director:
Producer:

Advertiser:

Artist:
Art Directors:

Producer and
Advertiser:
Artist:

Art Director:
Producer and
Advertiser:
Artist:

Art Director:
Producer:
Advertiser:

Artist:
Art Directors:

Producer:
Advertiser:
Agency:
Artist:

Art Directors:

Producer:
Advertiser

Artist

Art Director:
Producer:
Advertiser:

Dale Maxey
Harry Cordesman
Leo Burnett Co.
Mars, Inc.

Siegfried Reinhart
Robert Thurn

Gardner Advertising
Company

Bemis Bro. Bag Com-
pany

Theodore Kautzky
Henry Maconachy
Ketterlinus Litho Mfg.
Co.

John Morrell & Co.

Harry Borgman
William Connelly
Campbell Ewald Co.
Burroughs

Dale Maxey

Dave Wylie
Whitaker-Guernsey
Studio

Borden Co.

Dale Maxey

Tom Gorey
Whitaker-Guernsey
Studio

Ac'Cent (Infernational
Minerals & Chemicals
Corp.)

Peter Agnes Lowrie
W. W. Meese and

A. H. Kiefer

Eli Lilly & Company

Marce Mayhew

Paul Smith

Edwin Snyder—
Rand McNally & Co.

Evaline Ness

Bill Cannell
Gibbons-O'Neill, Inc.
St. Marys Wool Mfg.
Co.

Franklin McMahon

Art Talmadge and Jack
Kapes

Franklin McMahon
Mercury Records

Jack Kapes&Associates
Barbara Schwinn

Lee Stanley and Mack
Ray

Leo Burnett Co.
The Englander
pany

Peter Helck

Al Scott
Campbell-Ewald Co.
National Steel

Com-

231.

232.

233.

234.

235.

236.

Artist:

Art Director:
Producer:
Advertiser:

Artist:

Art Director:
Producer:
Advertiser:

Artist:
Art Director:
Producer:

Advertiser
Agency:

Artist:

Art Director:
Producer and
Advertiser:

Artist:

Art Director:
Producer:
Advertiser:

Artist:

Art Director:
Producer and
Advertiser:

Bemelman's

Harry Cordesman
Leo Burnett Company
Mars, Inc.

Alice and Martin
Provenson

Andy Armstrong
Leo Burnett Co.
Kellogg Company

Lucia

Stephens-Biondi &

De Cicco
Dupont—Orlon
Batten, Barton Durstine
& Osborn

Richard Lindner
R. Blayne McCurry

Abbott Laboratories

Rudy Pott

John B. Breunig
Foote, Cone & Belding
Armour and Company

Herbert J. Gute
Henry Machonachy
Ketterlinus Litho Mfg.
Co.

3. PRODUCT ILLUSTRATIONS
BLACK AND WHITE

B-3

237.

Artist:

Art Director:
Producer and
Advertiser:

Ethel Frost
Frances Owen
Marshal Field &
Company

4. PRODUCT ILLUSTRATION
COLOR

B-4

239.

240.

241.

242.

Artist:
Art Director:
Producer:

Advertiser:

Artist:

Art Director:
Producer:
Advertiser:

Artist:

Art Director:
Producer:
Advertiser:
Agency:

Artist:

Art Director:
Producer:
Advertiser:

Lyman Simpson

Wilbur Smart

D'Arcy Advertising
Company

The Coca Cola Com-
pany

Maurice Bauman
Robert A. Patterson
McCann-Erickson, Inc.
Bell and Howell

John Howard

Forrest Smith

John Howard
Glenmore Distilleries
D'Arcy Advertising Co.

John Howard

Frank Cheeseman
Ruthrauff & Ryan
Brown-Forman Distillers
Corp.

5. EDITORIAL ART

BLACK AND WHITE OR COLOR

y B-5
246.

248.

249,

Art Director:

Art Director
’ Producer and

Art Director

Artist: Winnie Fitch

Robert Bruce Crippen
Kiwanis International
The Kiwanis Magazine

Producer:
Advertiser:

Artist: Stan Ekman

Art Director: Joseph Lopker

Producer: Stan Ekman
Advertiser: American Weekly
Artist: Bob Keys
Robert Bruce Crippen
Producer: Whitaker-Guernsey
Studio
The Kiwanis Magazine

Harold Walter

Advertiser:
Artist:

Art Director: Charles Turzak

Harold Walter
Today's Health—
American Medical
Association

Fred Steffen
Bruce Crippen
Fred Steffen
Kiwanis Magazine

Producer:
Advertiser:

Artist

Producer
Advertiser:
Louise McMahan-
Horwitz

Artist and

Lovise McMahan-
Horwitz

Paton Studios
W. W. Meese

Advertiser
Artist

Producer and

254.

256.

257.

258.

Art Director:

260.

Art Director:

Advertiser:

Art Director:

Advertiser:

Eli Lilly and Co.

Fred Steffen

Robert Bruce Crippen
Kiwanis International
The.Kiwanis Magazine

Advertiser

Artist

Producer
Advertiser:

Artist: Ken Kenniston
Robert Bruce Crippen
Kiwanis International

The Kiwanis Magazine
Wade Ray

Wade Ray

Willard Arnold

Frank Follmer
Producer: The Rotarian Magazine

Producer:

Artist
Producer

Artist
Producer:

Artist:

Artist:
Producer

Cecile Ryden Johnson
Cecile Ryden Johnson
Ford Motor Company

Artist: Dale Maxey

Noble Gammell
Producer: Whitaker-Guernsey
Studio

Better Homes & Gar-
dens—Meredith Pub-
tishing Company

Artist: Fred Steffen

‘ Art Director: Robert Bruce Crippen

7
Art Director & Studio News

/ November 1953

Producer: Fred Steffen
Advertiser: Kiwanis Magazine

Artist and
Art Director: Harold Walter
Producer: Harold Walter
Advertiser: Print Magazine

Artist: Gene Sharp
Art Director: Taylor Poore
Producer: Tempo, Inc.
Advertiser: Capper's Farmer—
Capper Publications

262.

Elsa Kula

R. Hunter Middleton
Elsa Kula

Print Magazine

263. Artist
Art Director:
Producer
Advertiser
Everett McNear
Ernest W. Watson
Everett McNear
American Artist

Artist

Art Director:
Producer:
Advertiser

264.

265. Artist:
Art Director:

Producer

Betty Jones

Robert Bruce Crippen
Whitaker-Guernsey
Studio

The Kiwanis Magazine
Gordon Mellor—
Whitaker-Guernsey
Studio

Robert Bruce Crippen
Kiwanis International
The Kiwanis Magazine

Advertiser

Artist

266.

Art Director
Producer
Advertiser:
Howard Mueller
Robert Bruce Crippen
Kiwanis International
The Kiwanis Magazine

Artist: Harold Walter
Art Director: Charles Turzak
Producer: Harold Walter
Advertiser: Today's Health—
American Medical
Association

267 Artist:
Art Director:
Producer:

Advertiser

268.

Artist: Gene Sharp
Art Director: Taylor Poore
Producer: Tempo, Inc.
Smart Living—Admiral
Corporation

269.
Advertiser:

C. Photography...
Advertising and Editorial

1. GENERAL SUBJECT MATTER
C1 BLACK AND WHITE

274. Photographer: Ralph Cowan
Art Director: Howard Andersen
Producer: leo Burnett Co.
Advertiser: Harris Trust
275. Photographer
Art Director: W. W. Olmsted
Producer: Olmsted & Foley
Advertiser: First National Bank
Victor Keppler
Fred Stickle
Fuller & Smith & Ross

276 Photographer:
Art Director:
Producer:

Advertiser:

277. Photographer:
Art Director:
Producer:
Advertiser:

278. Photographer:
Art Director:
Producer:
Advertiser:

279. Photographer:
Art Director:
Producer:
Advertiser:
Agency:

280. Photographer
Art Director

Producer:
Advertiser:

281. Photographer:

Art Director:
Producer:
Advertiser:

282. Photographer:
Art Director:
Producer:
Advertiser:

283. Photographer
Art Director

Producer:
Advertiser:

Agency

2. GENERAL

COLOR

ae
289. Photographer

Art Directors:

Producer:
Advertiser:

290. Photographer:
Art Director:
Producer:

Advertiser:

3. PRODUCT ILLUSTRATION

BLACK
C-3
295. Photographer
Art Director
Producer
Advertiser

Westinghouse Electric
Corp.

Jackson Hand
Clarence N. Johnson
Reincke, Meyer & Finn
Golf, Mobile & Ohio

William Richards
Clark Maddock
McCann-Erickson, Inc.
leisey Brewing Co.

Karl Oeser

Lee Stanley
Sarra, Inc.
Baver & Black
Leo Burnett Co.

Ben Rose

Marvin Potts
Foote, Cone & Belding
Hiram Walker & Sons,
Inc.

Harold Bacon, Wesley
Bowman Studios, Inc.
Robert D. Dohn
Foote, Cone & Belding
Hiram Walker & Sons,
Inc

Stephen Heiser
Orville Sheldon
Foote, Cone & Belding
Minneapolis Honeywell
Regulator Co.
Karl Oeser
Dick Weiner
Sarra, Inc.
The Pullman Company
: Young & Rubicam, Inc.

SUBJECT MATTER

Joffe'—Studio Associ-
ates, Inc.
David W. lockwood
and Don L. Ruf
Foote, Cone & Belding
International Cellucot-
ton Products Company

Studio Associates, Inc.
Fred Czufin
Gardner Advertising
Co.

Johnson, Stephens &
Shinkle

AND WHITE

- Kenneth Heilbron
: Marilynn Casey

: Kenneth Heilbron
: Carson Pirie Scott &
Co.

296. Photographer:
Art Director:

Producer:

Advertiser:

297. Photographer:
Art Director:
Producer:
Advertiser:

Bacon Tirschel

Ros Foley and Jeanne
Brewer
Bacon-Tirschel
Associates
Arkwright Chicago,
Inc.

Herbert Matter
Lee King

Weiss & Geller
Holeproof Hosiery

4. PRODUCT ILLUSTRATION
COLOR

C.4
1. Photographer
Art Director
Producer:
Advertiser
302. Photographer:
Art Director
Producer:
Advertiser:

3. Photographer:
Art Director:
Producer:
Advertiser:

304. Photographer
Art Director
and Producer
Advertiser:

Agency

305. Photographer
Art D rector
Producer
Advertiser

306. Photo
Art Director

Producer

yrapher

A
Aavertiser
tograpner

Art Director
Producer
Advertiser

Dp
305. Photographer

Art Director

aucer
Advertiser
grapner

Art Director

A. George Miller

G. M. Kowall

A. E. Meyerhoff Co.
Brach Candy Co
Charles F. Kuoni Studio
Frank Johnson

Foote, Cone & Belding
Libby, McNeill & Libby
Charles F. Kuoni Studio
John B. Breunig

Foote, Cone & Belding
Armour & Company

Sarra, !nc

Frank Cheeseman

Brown-Forman Distillers

Corp

Ruthrauff & Ryan

Chas. F. Kuoni Studio

John B. Breunig

Foote, Cone & Belding

Armour & Co

Charles F. Kuoni Studio

Robert D. Dohn

Foote, Cone & Belding

Beatrice Foods Co

Pagan

Mack Ray

Leo Rurnett Co

Crane Co
Georoae

vweorge Miller

/
Bernard Anastasia

Camopbell-Mithun
American Dairy

Associatior

Charles Kuon Stud oO
Norman Houk

lec R irnett Company
Ke Company
Steve Deutch

A! Kubach and Charles

Os Rub cam, inc

y Bowmar

Advertiser

312. Photographer
Art Director
Producer

Advertiser

5. EDITORIA
BLACK AND
C-5

316. Photographer:
Art Director:
Producer:
Advertiser:

317. Photographer:
Art Director:
Producer:
Advertiser:

318. Photographer:
Art Director:
Producer:
Advertiser:

319. Photographer:

: Durkee Famous Foods

: d'Arazien

: Edward Spahr

: Ketchum, Macleod &
Grove Co., Inc.

: Jones & Laughlin

L PHOTOGRAPHY
WHITE OR COLOR

Wesley Bowman
LeRoy Winbush
Ebony Magazine
Johnson Publishing
Company

Christa

LeRoy Winbush
Ebony Magazine
Johnson Publishing
Co.

Warner Wolff
LeRoy Winbush
Ebony Magazine
Johnson Publishing
Co.

A. George Miller

Producer: A. George Miller, Inc.
TELEVISION COMMERCIALS
AWARD WINNERS

Exhib. No
D-1]
NO AWARDS
D-2
¥%&320. Producer: Needham, Louis &
Brorby, Inc.
Advertiser: S. C. Johnson & Son,

Art Director:
Artist:

D-3
%& 326

Advertiser:

Art Director:
Art:

Producer:

327

Advertiser:

Art Director:

Art:

D-4
NO

D-5
¥%& 333. Producer
Advertiser

Art Director

Art
(ye denotes meda
D. TELEVISION COMMERCIALS

Producer:

Inc. Jubilee Wax
Scott Park
Chicago Film Lab., Inc.

Needham, Louis &
Brorby, Inc.

The Quaker Oats Co.
Ken-L-Ration

Herbert Bull

The Cartoonists
Needham, Louis &
Brorby, Inc.
Household Finance
Corp.

Scott Park

Tempo Productions, Inc

AWARDS

: Needham, Louis &
Brorby, Inc

: Household Finance
Corporation

: Herbert Bull
Jim Hicks

| award winner)

322.

323.

324.

325.

328.

329.

330.

33).

332.

1. LIVE COMMERCIALS
(16MM _ KINESCOPE)
NONE
2. FILM COMMERCIALS
(LIVE TECHNIQUE)

Producer:
Advertiser:
Agency:

Producer:
Advertiser:

Agency:
Producer:
Advertiser:
Agency:
Producer:

Advertiser:

Art Director:
Art:

Sarra, Inc.

Wrisley

Earle Ludgin & Com.
pany

Sarra, Inc.
Studebaker Corp.
Roche, Williams &
Cleary

Sarra, Inc.
Champagne Velvet
Beer

Weiss & Geller, Inc.
Sarra, Inc.

Northern Tissue
Young & Rubicam, Inc.
Needham, Louis &
Brorby, Inc.

S. C. Johnson & Son,
Inc. Paste Wax

Scott Park

Chicago Film Lab., Inc.

3. FILM COMMERCIALS
FULL ANIMATION

Producer:
Advertiser:
Art Director:
Animator:

Producer:

Advertiser:

Art Director:
Art:

Producer:
Advertiser:

Art Director:
Art:

Producer:
Advertiser:

Art Director:
Art:
Producer:
Advertiser:
Art Director:
Art:

Agency:

Young & Rubicam, Inc.
American Bakeries
Martin Smith

Ross Wetzel—

The Cartoonists
Needham, Louis &
Brorby, Inc.
Household Finance
Corp.

Scott Park

Tempo Productions, Inc.
Needham, Louis &
Brorby, Inc.

The Quaker Oats—
Ken-L-Ration

Herbert Bull

Verve Studios and
Chicago Film Lab, Inc.
Needham, Louis &
Brorby, Inc.

S. C. Johnson & Son,
Inc. Carplate

Scott Park

Tempo Productions, Inc
The Cartoonists
Purity Bakeries
Martin Smith

Jim Hicks, lwoa
Yamanaka and

Ross Wetze!

Young & Rubicam, Inc

LIMITED ACTION COMMERCIALS
NONE
5. MISCELLANEOUS

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Australia looks at advertising art

P. G. CLEMENGER

As a result of a recent world tour to
study advertising, covering most of
the European countries, England and
America—an International Exhibition
of Advertising was staged in Mel-
bourne earlier this year.

This Exhibition featured the very
finest samples of advertising and ad-
vertising art collected from all over
the world. The standard of work pre-
sented was very fine and acted as a
stimulus to people in Australia.

To organize an exhibition of this
kind meant sorting out all the best
work that had been collected from all
over the world. It meant comparing
the best work from all countries, choos-
ing only a small selection for inclusion
in each section of the Exhibition. Thus,
to make a critical analysis of American
advertising, we can look at some of the
sections of this Exhibition and see how
prominently America was featured.

American Ad Art Best

At the start, we would say that for
the most part, the best American ad-
vertising and art is the best in the
world. In the Magazine Advertising
Section, American exhibits were out-
standing and were well in the majority.

American Fashion advertising reaches
such superb heights—in layout, and
excellence of photography. Newspaper
advertisements in color by Neiman
Marcus, an advertisement for Phoenix
Nylons, advertisements in the latest
Modess series (in the fashion style)
are perfect in every respect. In food
advertising, there were also some ex-
cellent American exhibits—Birds Eye,
Swans Down, Hunts Food also com-
bined excellence of layout and photog-
raphy.

In so many of the European coun-
tries, large national advertising cam-
paigns in Magazines and Newspapers
tend to lose their own national charac-
ter. They tend to follow the American
style, and so much of the work when
it’s done this way looks so very crude.

Art Director & Studio News / November 1953

The Europeans have an _ individual
style which is superb, but so often they
are made to do things in a way that
just does not come naturally to them.

In the poster exhibits, we see the
Europeans, and particularly the Swiss,
at their best—doing advertising as they
know how to do it! We feel that the
Swiss Posters are without equal in the
world—for their simplicity, humor,
bright color and striking display. So
many of the American posters, although
so expertly printed, have no individual-
ity. To look through the book which
shows the best American posters of the
year, makes ,this point so very clear.

An illustration of a woman holding
a baby in her arms will be advertising
anything from Car Batteries to Motor
Cars. Only few good posters are to
be seen in America—such as the small
Ohrbachs posters and those for the
New York Times.

In newspaper Advertising nothing
in the world can equal American de-
partment store fashion advertising—
Neiman Marcus and Marshall Field
for excellence of layout and art, and
Gimbels for some superb copywriting.
Then again, CBS and NBC hit a
wonderful high with their newspaper
promotional work. These 2 networks
show us so clearly how good design
can be used together with good ideas
to “sell” radio programmes so much
better than the jazzy, jampacked sort
of advertising.

Record Albums Cited

Other features of the Exhibition
were the Record Album Jackets, most
of which were Eric Nitsche Decca de-
signs. Long Playing Albums are ap-
pearing on the market in Australia
now, and these jackets from America
made it plain to all how modern design
can be used with telling effect. A dis-
play of these covers as seen in so many
shops in New York along Fifth Ave-
nue, Madison Avenue is so very colorful
and exciting.

In the booklets and printed litera-
ture, a great many of the Exhibits
were from America, although this was
not true of the travel literature. In
this small section, the outstanding ex-
hibits came from Switzerland—probably
the most travel conscious country in
the world.

West Coast Art

There were 5 very fine designs from
the West Coast of America, sent to us
by Saul Bass, among the letterhead
section. Although these were outstand-
ing, we do not think this is true of the
general run of American Company
letterheads. Again, the Swiss designs
are of a very high standard.

From these few sections, and the
others in this Exhibition—Packaging,
Photography, Editorial Art (we had
6 originals from the S. E. Post) Book
Jackets — America was undoubtedly
leader among all countries. The best
American Exhibits were outstanding.

For or part, however, we feel we can
learn a lot not only from America but
from England and Europe, too. Coun-
tries like Switzerland, Italy, Sweden
produce some very fine work—little of
which is ever seen in Australia.

Although the best American adver-
tising is the best in the world, there is
so much bad work to be seen in Amer-
ica. Of course, this is true of any
country. The newspapers are full of
“prices-slashed” advertisements, all
made to look rougher than any other.
We wonder whether it is necessary to
havc advertisements that are not pleas-
ing to the eye to convey an impression
of “hard-sell”. Surely good design of
a strong selling copy story would give
even better results.

But when it comes to the business
of selling goods, which after all adver-
tising is designed to do, America can
give a lead to the rest of the world.
America is a land of competition, that
is. why it is a great country today,
and advertising and promotion are all
geared to this end.

Problem: to give SAGA, a magazine
with a limited budget, an expensive
and distinctive appearance.

Background: For many years a
few publishers monopolized the Men's
Field with a handful of magazines
slanted to appeal to the reading tastes
of a predominantly male audience.
Then came the boom in men’s books.
Hardly a month passed last year and
early this year without a new magazine
appearing on the newsstands. The
market became glutted with more than
27 men’s books, all with sensational
titles and vivid illustrations splashed
across their covers, promising avid
readers sex, adventure, blood and thun-
der and host of other vicarious thrill-
ing experiences. But as in all booms,
the bubble eventually burst. This
spring the market became saturated,
circulation figures nosedived, As sales
fell, many of the books folded, many
teetered, and even the more established
magazines were considerably shaken.
The situation is still not resolved. But
a small percentage of the Johnny-come-
latelys will survive and challenge the
supremacy of the old reliables.

In the future there will probably be
at least a half-dozen men’s books on
the newsstands that look reasonably
alike so that the prospective customer,
even the discerning one, will be left
with an arbitrary choice. The books
that hope to spark their lagging cir-
culations and attract new readers will
have to revive their format with an eye

for visual appeal.

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Solution:
from the stereotyped format that makes
it difficult to distinguish one men’s
book from another, art director Greg-
ory Bruno of SAGA has devised a new

format that exploits design layouts,
with a two-fold purpose. Design lay-
outs are not only unique and eyecatch-
ing and provide a greater change of
pace, but they are also economical.
This leaves more money to be spent on
fewer and better illustrations. Bruno
reports the following specific changes
in SAGA:

A. Design—The use of line engrav-
ings, photographic elements, decorative
drawings, art alone or in a combina-

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Art Director & Studio News

tion of ways to express an idea sym-
bolically. Very few men’s magazines
make use of this device.

B. Illustration—The majority of the
men’s books use nothing but realistic
(photographic) art, page after page,
with the result that their formats are
monotonous. The new SAGA avoids
this pitfall by breaking away from the
totally realistic approach by balancing
realism with a variety of unconven-
tional techniques. Some artists used
are John Groth, Bob Shore, Charles
Beck, J. Leone, A. Stathis, Brendan
Lynch, M. Kunstler, Paul Calle, and
Herb Mott.

C. Photography—Capturing greater
realism by the photographic approach;
using picture stories which convey the
drama in situations like a night in
police court, steel working, prize-
fighters training in a gym, etc.—laid
out with a special emphasis on dra-
matic use of white space and cropping,
and picture patterns and arrangements
which achieve’ refreshing’ effects
through the counterpoint of large and
small photos. SAGA also groups cap-
tions, as opposed to the “old catalogue
school” which calls for a caption to
appear under each picture. Some pho-
tographers used are: Jerry €ooke, Ed
Feingersh, Ozzie Sweet, Bob Schwal-
berg.

D. Type and Photography — Bruno
uses Elegance-Didot and Grotesque of
various weights for heads, with the
emphasis on legibility, avoiding the
“Dripping Blood” type of brush letter-
ing which is a feeble effort to supple-
ment atmosphere in poor illustrations.
8/9 Bodoni is used for captions and
Excelsior 8/10 for the body. Both type
faces are clean and highly legible.
Hand-lettering is done by Ed Benguiat.

E. Covers — Bruno breaks away
from the trite man against wolf, man
against man and wolf against wolf
cover illustrations by introducing ob-
jects. which have definite masculine
appeal and design possibilities, treat-
ing them with vivid, poster-like sim-
plicity. Cropping and other imaginative
techniques produce eye-catching effects.
Recent SAGA covers are good ex-
amples. PT boats in formation from a
bird’s-eye view, ice boats and racing
cars. When it has been possible, white
backgrounds have been utilized to fur-
ther heighten the colors. E] Valigursky
has painted the most recent covers.

Result: September issue, first one
designed by Mr. Bruno, recorded 62,000
newsstand jump over previous month.

record album design

Why Decca hitched its sales
approach to creative art in
order to compete--Carl Weiss,
Director of Visual Research,
Fredman-Chaite Studios Inc.

Because good art aitracts the buyer’s
eye, Decca records use good art to sell
records. But art alone is not enough to
sell Decca records. Since Decca does
not have the fiscal resources of its chief
rivals, advertising manager Mort Nasa-
tir and his two art directors, Marc
Brody and Richard Graham, think and
work hard to stay on top of the ruth-
lessly high art standards in record
albums.

Because Decca’s art overcame budget
problems to maintain its standards, it
demonstrates that budget need not de-
termine quality. For this reason Carl
Weiss, moderator of Fredman-Chaite
Studios Creative Plus Forums (former-
ly sponsored by Hampton Studios),
selected Decca to analyze their specific
approaches to a selling by design.

Problem: How does Decca success-
fully compete with rivals who turn out
the same classic records?

Solution: In the classical field, which
they entered in 1950 and which was
dominated by RCA, Columbia and Lon-
don, Decca decided to shock the indus-
try with design methods. At first new
approaches in materials, cloth, thermog-
raphy (embossing effect economically
done by letterpress) and tip-ons were
used, but these industries were not

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capable of the demanded speed. Mort
Nasatir evolved the idea of using one
artist who could maintain a distinctive
style while varying his approach to
each album of the series, thus avoiding
monotony yet achieving continuity and
company identification. With Erik
Nitsche Decca developed the policy of
expressiveness through simplification,
distortion and _ transposition, using
documentary material to render the
facts as a simplified, formalized, ex-
pressive symbol.

Decca has problems developing new
artists. In designing covers they must
accept company policy in the overall
design yet develop freedom and flexi-
bility in style.

Problem: How have you avoided too
many cooks spoiling your artistic brew?

Solution: Limit OK’s to a minimum,
says Mr. Nasatir, to the advertising di-
rector, art director and one non-art
person, the recording director. In this
way we need only 1 comp, no thumb-
nails, no roughs, since we try to give
all the necessary information to the
artist so that he has all data pertinent
to the job before he starts.

Problem: How can album art sell
the excitement of a show in the flat
black disc?

Art Director & Studio News / November 1953

Solution: The art consciously at-
tempts to make customers feel they’re
taking home a Broadway show or movie.
They work closely with the producer.
Photos and art used originally to pub-
licize the production are incorporated
to retain the original flavor. Even the
layouts retain the mood of the play or
movie ads in order to capitalize on
their millions of dollars of advertising.
If the ad plates are the right size they
may be used in whole or in part for
campaign continuity as well as economy.
They often use a finale or curtain scene
as the basis of their design.

Problem: How does Decca design
records to get maximum display space
by the retailer?

Solution: Covers are deliberately de-
signed to look different from competi-
tors, whether it’s hillbilly, jazz, chil-
dren’s sets, mood music, plays, poetry
or classics. There is a tendency by all
companies to handle classics, for ex-
ample, either with old engravings or
period pictures. Decca deliberately used
modern art to look different. Sales re-
sults have justified this break with
tradition. Impulse buying figures
heavily in music shops and an album

Tansman | triptych

cover that catches the eye often makes
the sale.

Problem: Does uniformity in record
design help or hinder sales?

Solution: When Decca runs a classic
series, AD Brody uses uniformity to
maintain the complete collection look.
He does this by using the same art with
different colors or adding another unit
(like an additional branch to a tree)
for each new album of the series. For
popular records, variety is the theme
and the art follows suit. The strong
Decca Seal maintains brand identity.
Although they frequently use Erik
Nitsche, he is selected because he al-
ways uses new devices, techniques and
so uniformity never occurs.

Problem: When do photos get prece-
dent over art?

Solution: Photos are used for
glamorous shots of stars, moods, name
orchestra leaders. Brody and his artists
use photos for special dramatic effects
that may be far from the photograph’s
original intent. They’ve used _ the
World’s Fair Polish Building for a
classic record but its identity was just
a powerful mood, not architecture at all.

Problem: How do Coral and Bruns-
wick, subsidiaries of Decca, design
covers to sell, based on the recording
artist’s reputation?

Solution: When the recording artist
is a big name, art director Richard
Graham uses big photos. If it’s a polka
rather than a “name,” he shows mood

BpimananA - and dancers. If recording artists are

ee known to the public as “characters” he

i ek! a keeps their photos and art mood in
character.

Problem: How do Coral and Bruns-
wick increase their labels recognition?

Solution: Mr. Graham accentuates
poster art and drops subleties. The
trend is for boldness and brass. He en-

a” courages the use of primary colors,
® bright and attention-getting, and large
DECCA .- type with see-it-from-across-the-street

display value. Here, the thin line to
tread between good and bad taste in
design is realized. The art he selects
is modern and semi-abstract, but so ele-
mentary and rzalistic that no “what is
it?” questi...s may be asked. This was
achieved with Brunswick’s latest vol-
ume, Jazztime, USA, which sold 10,000
records the first month released and

made jazz the by-word with Brunswick
—— brass
-

Problem: How does small budget
permit adequate art budget needs?

Solution: Mr. Graham saves on pro-
duction costs, utilizing this money for
better art. Production costs are lowered
(a) by insistence of accurate, color
separated mechanicals, (b) 3 color lim-
itations and (c) by designing album
covers so that the same plates may be
used for 7”, 10” and 12” records.

Problem: Can advertising and edi-
torial art use these record art ap-
proaches?

Solution: They can use its freedom.
Abstract art, experimental type —
everything goes here. Records sell with-
out a lot of copy on the package. Rec-
ords, on the other hand, will use more
advertising copy on album cover to sell,
according to Mr. Nasatir.

Problem: Are Decca, Coral and
Brunswick open to new artists?

Solution: They’re welcome. But
above all, artists for Decca must know
type and production as well as have a
creative flair.

Art Studio Trends

Three Chicago studio heads review the studio’s

position in todays advertising procedure

Birds of a Feather don’t flock together

What kind of “birds” do you find in
the most successful studios today? Two
distinct—and diametrically opposed—
types. And there’s a direct relationship
between these contrasting types and
profitable studio operation.

Take today’s artist, for example. The
age of specialization has not passed him
by any more than it has your “platoon
type” ball players. Ten years ago the
“all around” artist was not too rare a
bird. Today he’s almost as dead as the
dodo bird. Time, quality of work and
competition have forced the average
artist to be a layout man, a lettering
man, a finished art man... or what
have you. He’s still an expert and still
an artist, but only in one narrow spe-
cialized field.

At the other end of the pole from the
specialist stands the successful sales-
man. He can’t specialize in anything.
He has to have broad general knowl-
edge of many subjects. For example,
he has to be fully familiar and keep
pace with changes in all the allied
graphic arts fields. He has to know,
talk and even sell on the basis of his
knowledge of type, production, printing
processes, etc.

In addition, today’s salesman has to
carry water—or perhaps we should say,
crying towels—on both shoulders. If
he’s going to help keep his studio going.
He must know and understand the prob-
lems of the client. And he must know
and understand the personalities of the
various artists he works with. This
marriage by proxy of client demands
an artistic temperament, produces the
type of work that keeps artists, sales-
men and studios working at full blast.

One thing both artists and salesmen
share is the love of “mental wages” or
“fringe benefits” over and above sal-

Art Director & Studio News / November 1953

aries. Many times today, a salary alone
is not enough to keep good men happy.
Tnere must be, as in so many other
businesses today, a Hospitalization
Plan, a Liberal Vacation Policy, Profit
Sharing, Group Insurance and the like.

Feldkamp & Malloy, Inc.
Eliner Holtzappel

Varied services under one roof

Recent exhibitions of the Art Directors’
Clubs in New York, Chicago and San
Francisco, have proved more and more
each year how the agency art directors
instinctively look to the large studios
for effiicient and prompt: handling of
their art and illustration needs. Some
reasons for this trend are:

More and more these large art
studios are attracting the big-name
free-lance artist as a natural outlet for
his work. In these studios the artist has
an opportunity to select the type of
work he wants to do and is not obliged
to accept work for which he may not
be fully qualified or which he may not
enjoy doing. His worries about rentals,
office space, billing, bookkeeping, adver-
tising, calling on clients, etc., are pretty
well all solved for him and his mind
and hands are freed to develop in his
chosen mediums of expression. The
problems and necessities of business
management need not limit his creative
ability. Working in the large studios
the artist knows that his particular
contribution to an ad or a campaign
will be complemented by the work of
other equally talented men and women
with whom he is associated in daily
contact and with whom he can discuss
the entire project and thus make the
best possible use of the advertiser’s
valuable space and time. An advertise-
ment produced in these large studios be-
comes an integrated selling force and

not a miscellaneous collection of unre-
lated units, different in feeling, atmo-
sphere and perhaps proportion, from
one another.

The agency art director finds at the
large studios a wide range of talents,
competent to handle any job or any
part of any job and his hands are thus
freed for the work only he can do; his
time and energy are not taken up with
a race from one source of supply to
another; the failure of one creative
man to meet a deadline is not permitted
to paralyze the production of the whole
job.

Herbert J. Bielefeld, President,
Bielefeld Studios

Trends we’ve spotted

1. Major switch from illustration to
photography. This began with the
technical improvement of color
photography—its ability to cap-
ture the appetite appeal so neces-
sary in a food shot. The growth
or impetus has continued into
black and white photography,
even into situations which do not
call for photography. This will
continue until the sameness of ad-
vertising becomes evident.

2. Much work done today by art
studios that was formerly done by
engravers. Replacements in this
particular phase of production,
keyline and assembly are becom-
ing extinct. They can earn more
in a trade. Very few apprentices
learning the business.

38. A constant loss of individualistic
talent in the art field. We as an
industry are still badly underpaid
when one considers the knowledge
and talent needed to meet teday’s
requirements. This is especially
true in the field of good analytical
layout.

4. Growth of the small studios who
base their entrance to the adver-
tising field on price or weakened
work.

5. Growth of design and designed
illustration. Every day there is
more evidence that industry is
realizing the importance of de-
sign as a sales tool. Each day re-
flects their knowledge of the
change that has taken place in
the individual’s taste during the
last ten years. Designed illustra-
tion is the perfect foil to capture
attention in an abundance of
photography.

Howard A. Guernsey
Whitaker Guernsey Studio, Inc.

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53's greeting cards

While Christmas Cards only account
for about one half of the total of an
estimated three and a half billion greet-
ing cards that are mailed in the United
States each year, it is generally true
that the new Christmas lines each year
set the pace for innovations and devel-
opment of new trends.

The Christmas Cards for 1953 are
therefore no exception. Those who
select their Christmas Greetings early
have been surprised to find both “some-
thing old and something new” in
holiday greetings for their selection
during recent weeks.

One development of marked interest
is the very general revival of the use
of beautiful vegetable parchment paper
to enhance the appearance of the color-
ful Christmas illustrations on _ this
year’s cards. Originally introduced into
the Greeting Card field away back in
1918, parchment paper possesses a spe-
cial adaptability to the blending of
colors and is particularly appealing
when bronzes and metallic inks are
used in connection with the reproduc-
tions of the illustrations.

The vogue for parchment Greeting
Cards faded in the 1930’s and now in
1953, it is back stronger than ever.

In the long interim, improvements in
the graphic arts processes have made it
possible for today’s publishers to pro-
duce hairline register by lithography
on the rich mottled parchment stock.
There has also been a revival of the
illuminated manuscript type of Christ-
mas Card design that has a special
charm all its own.

In direct contrast to the revival of
the use of parchment paper is a totally
new trend involving adaptation of
color photography to Christmas Card
designing. Many Christmas Card lines
are now featuring a series of full color
reproductions of holly, poinsettia, can-
dles, mistletoe, and many other well-
loved Christmas symbols realistically
portrayed through the magic of the
color camera and reproduced with a

Art Director & Studio News / November 1953

remarkable fidelity in six or more
lithographed colors.

Some of these new creations are pro-
duced directly on shiny acetate which
lends greater brilliance and intensity
of color to the designs than if they
were actual photographic color prints.

Another marked trend in the 1953
cards is the expanding variety of chil-
dren’s cut-out novelty cards and other
cards with unusual attachments such as
feather whiskers for Santa Claus and
little plastic novelties that lend a spe-
cial touch to the cards.

Another new note, which is particu-
larly prominent in the displays of the
personal Christmas Cards, the cards
that are selected to have the individual’s
name imprinted under the message, is
the increasing variety of “Mr. and
Mrs.” cards and cards especially de-
signed for single girls and men to send.
Other cards of this type are developed
so that they can be personalized to ex-
actly fit the family of the sender. In
some cases, the cards can be imprinted
with clever little silhouettes showing
Mama and Papa, Junior and Little
Sister and even Fido, the pet dog. Other
versions of this trend incorporate spe-
cial designs and sentiments that extend
holiday greetings from “The Three of
Us,” “The Four of Us” and “From Our
House to Your House.”

Studio cards

In the never-ending search for “some-
thing different, something new” the
greeting card world today finds itself
involved in a mild upheaval due to-the
appearance, in recent years, of what
are loosely called, for want of a better
name, “studio” greeting cards.

Greeting card senders of another era
would probably shudder at the idea of
greeting a sick friend with “WHEN
YOU ARE NOT VISIBLE — IT’S
MISIBLE!” and even today the myriad
supporters of good, sound, sentimental
greeting card messages will have no
truck with this slightly impertinent
stepehild. But, as in all battles between
conservatism and the non-conventional
way of doing things, recent develop-
ments in the industry clearly show that
quite a sizable portion of the popula-
tion is enthusiastic about this tinker-
ing with long-established traditions in
popular greeting card design and verse.

The advent of the studio card has
had its greatest impact in the larger
cities. A whole new cult of greeting
card senders is growing lustily on this
rash of bonmots coupled with cartoon-
like illustrations reminiscent of the

fabulous characters that have wandered
through the pages of the New Yorker
for a long time.

There is no particular rhyme or
reason to the general fun of studio
cards. They are completely uninhibited
and seem to find a fierce pleasure in
being a bit daring and always uncon-
ventional. They all have the common
characteristic of conveying their mes-
sage in a brief, “right-to-the-point” and
not always complimentary manner.

Waggish rhymes

For instance, there’s a Valentine with
all the ear-marks of being designed by
a third grader which just says: “I
NEED YOU — LIKE A HOLE IN
THE HEAD!” Another card remarks:
“YOU IN THE HOSPITAL? — DON’T
WORRY — YOU’LL SOON BE OUT
— A COUPLE OF HUNDRED
BUCKS!” Another waggish card greets
a sick friend with this. “IS YOUR
DOCTOR A _ PRACTISING PHY-
SICIAN? — WHY NOT GET AN
EXPERIENCED ONE?”

Well, this sort of thing goes on and
on and nobody seems to know where it
will end and why worry about it
anyhow!

To quote a newspaper cliche: “au-
thoritative sources within the greeting
card industry” offer variations of op-
inions on the studio cards. Most of
them agree, however, that these greet-
ings with their rather fantastic charac-
ters and messages are welcome addi-
tions to the family. They also point out
that there is no question of disturbing
the traditional set-up of the industry
involved here. Rather, they believe that
the studio cards are catering to an en-
tirely new breed of greeting card users
which, of course, is all to the good.
Statistics on this new development in
the greeting card business are, at the
best, guesstimates. Most authorities
feel that, percentage-wise, the studio
card does not bat very strong in a
league that accounts for over three and
a half billion greeting cards for all
occasions that are sent and received by
the American public annually.

There have been a few complaints in
some quarters that the “studio” boys
and girls have been getting out of line
a bit in a tendency to dwell, heavily,
on double meanings and slightly sexy
insinuations but for the most part, the
studio productions are just what the
doctor ordered for the sophisticate who
rebels at the firmly established “roses
are red, violet are blue” school of greet-
ing card design and sentiment.

“

1948

SO L/TTLE MORE

Soft like Kleenex tissues

fiw

1952

646

1932

1952 RED CROSS FUND

CONTRIBUTED BY YOUR OUTDOOR ADVERTISING COMPANY AS A PUBLIC SERVICE « >

1952

WITH CARE

f DRIVE SAFELY

‘
v4 The fe you seve may be your own
fl °

1953

In October 1930 the “Best Posters of
the Year” were selected by the Outdoor
Department of the Advertising Council
of the Chicago Association of Com-
merce and were exhibited in the theatre
of the Lighting Institute, Civic Opera
Building in Chicago.

The Committee Chairman was Mr.
B. L. Robbins, the manager of the
Chicago branch and now president of
the General Outdoor Advertising Co.
The call for entries that year totaled
75, all of which were exhibited. This
exhibition received sufficient publicity
and aroused sufficient enthusiasm to
spur arrangements for the next year.

October 1931 saw the real beginning
and forecast the exhibition as an annual
event in Outdoor Advertising. The ex-
hibition was again known as “Best
Posters of the Year” and was reported
in the October 1931 issue of Outdoor
Design which originally was known as
Poster Magazine, as follows:

“The purpose of the exhibit is two-
fold. It provides, in the first place,
recognition to those who are doing
outstanding work in the field of out-
door advertising design. In the sec-
ond place, it assembles for exhibition
and makes available for study the
best outdoor advertising design of
the year.

The interest which students and ad-

vertising men have shown in the ex-

hibit has shown that the time and
money which the show required was
well spent. The formal opening, at
the first fall meeting of the Adver-
tising Council, crowded Marshall

Field’s Wedgewood Room to capac-

ity. More than three hundred adver-

tising men were in attendance to hear
the talks of G. R. Schaeffer, adver-
tising manager of Marshall Field and

Company, who awarded the prizes.”

The three top awards that year were
won in order by Frederic Stanley, Fred
Ludekens and Lyman Simpson and
were reproduced in full color in the
magazine.

1932—the bottom year of the de-
pression, witnesse] another successful

“Best Posters of

'S of the Year”

WILLIAM W. MILLER, GENERAL OUTDOOR ADVERTISING CO.

exhibition which now carried the name
of “One Hundred Best Posters of the
Year.” Three hundred posters were en-
tered. The show was this year reported
in “Advertising Arts, January 1933,
Section of Advertising and Selling and
contained eight pages in color repro-
ducing the three award winners and ten
honorable mentions, and the remaining
87 designs in black and white. This
issue further carried an article headed
“Outdoor Advertising Joins the Arts,”
written by Frederick W. Kurtz, Vice
President, N. W. Ayer & Son, which
stated in part —

“Industry has discovered there is a
definite relationship between beauty
and the balance sheet. The economic
value of beauty has been proved. It
has become an accepted fact that, to
open a purse, an advertisement must
first invite the eye. This is becoming
especially recognized as true of the
poster. The poster is distinctly an eye
appeal. Its message is short, quick,
confronts one suddenly, is gone in a
flash. It permits no argument, allows
no reasoning. It is an ideogram
which immediately makes or misses
its connection. For this reason the
poster must be conceived in salesman-
ship and executed in thorough crafts-
manship—at once vigorous and har-
monious, in the same breath striking
and in the best of taste. Only when
it displays these graphic qualities
does a poster present its message in
maximum effect. Until recently, in-
dustry overlooked these truths. Per-
haps it would be more fair to say its
sins were those of omission rather
than commission—for business was
not conscious of the possibilities of
art applied to outdoor advertising.
But, fortunately, there were forces at
work preparing the American busi-
ness mind for a greater appreciation
of the compelling power of attractive-
ness. A special technique of poster
art was developing in France, Ger-
many and England. In these coun-
tries, art, for centuries, had laid its
smoothing hand on life. Jensen, Cax-
ton, Bodoni, Caslon, Morris—to men-
tion only a few of the famous typog-

raphers—steadily had been raising
the standards of the printed word.
Chippendale, Adam, Hepplewhite had
given grace and beauty to furniture.
Jacquard, the French genius, had
revolutionized weaving. Fabrication
in every line of production had felt
the refining and enriching influence
of culture. Irresistibly, this old-world
sense of color, line, and form at-
tacked the poster, with amazing re-
sults. Little by little it found its ad-
herents and champions here. Leading
artists caught the glow and felt the
inspiration. Forward-thinking adver-
tising men were sold the selling val-
ue of good taste —— visualized out-
door advertising that attracted in-
stead of repelled, that created desire
instead of antagonism. And out of
this has come a distinctly American
school of poster art that combines
the beter elements of European
thought with those definite charac-
teristics of American methods that
have made American advertising
dominant in the field of publication
advertising.”

A further quote and one which is as
true today as it was 20 years ago,
stated:

“The successful poster is a fine co-

operative effort between
manager, writer and
artist. The merchandise expert and
the sales manager must lead, or be
led by the advertising counselor to
discover the dynamic selling
point in the product. The artist must
be inspired to picture this in the
simplest and most forceful way—for,
to repeat, a poster is an ideogram
that must make its contact instantly.
The copy-writer must find the short-
est, most potent words to express
forcefully this message—for time is
vital, and he who reads is on the

merchan-

diser, sales

most

run.”

The top winners this year were in
order: Otis Shepard, Walter Warde,
and Haddon Sundbloom.

For the next ten years the shows con-
tinued to be held by a commtitee headed
by Mr. Robbins. However, in 1943 and

1944, war years, the exhibition lapsed
to conserve express shipments. This was
a considerable item as by now from 800
to 900 posters were being entered year-
ly from all over the union.

In 1945 the exhibition was resumed
and through negotiations of Sid Wells,
Vice President and Advertising Man-
ager, McCann-Erickson, Inc., and now
manager Chicago Office, and Hal Jen-
sen, then President of The Art Direc-
tors Club of Chicago, the sponsorship
of the event was taken over by the
ADCC. Since then, it has continued in
this arrangement.

Beginning in 1934 and continuing to
the present, the entire exhibit has been
reproduced in the Poster Annual and
published by Outdoor Advertising In-
ccrporated. This annual has become a
series of text books for the student of
advertising as well as art.

Many famous names such as Sund-
bloom, Shepard, Henzerling, Wilkinson,
Simpson and others have continuously
been named as winners. New names are
constantly being added and then owners
given credit and publicity for their ac-
complishment. The exhibition and An-
nual has been a great boon to the artists
as well as the advertisers.

To win is a coveted honor—to win
calls for real effort on the part of copy-
writer as well as artist. Frequently
these exhibitions point the way to new
trends such as was displayed by
Howard Scott and the Nash Series, and
Otis Shepard and the Wrigley designs.

It is definitely becoming each year
more difficult to “be in the show” as
the creative departments of the various
agencies improve the posters thru
experience in research surveys and
stepped up creative thinking induced
by 3D and TV. Competition is getting
tougher—there are now more of the
“better” posters.

We of the Art Directors Club of Chi-
cago are proud of the part we have
played in improving the poster field.
Year after year we have helped to im-
prove the method of judging. We feel
that the membership of the juries we
have helped to select has been com-
posed of the top men in the advertising
field and that their selection is a true
cross section of the best produced in
this country. We believe these truly
American type posters are fulfilling
their purpose—which is to sell America’s
products and services. We believe the
future will continue to improve and
produce good product selling posters
and we believe the ADCC will continue
to take pride in this sponsorship.

Art Director & Studio News / November 1953

As a device to attract attention,
the designer of this display fea-
tured the monkey, projected into
the air by a wooden dowel.

cH. ee
ES Gah enn 5 RTE

Velvet-like gloved hands pull for-
ward and conceal cardboard con-
struction which accomodate actual
sets. As merchandise is sold from
the display itself, reproductions of
the 4 Zenith sets appear on the
background.

Sibley McCaslin, the 35-year-old head of Kling’s Display Division has placed
his organization high among the nation’s leading designers and
producers of point-of-purchase displays.

Kimsu

+ erewwet or DMMBERIT. Cl aan

pouBLe

A mobile suspended by a cord from
the ceiling, or from a base attached
to the product itself, is often the
answer to need for a low-cost form
of animation where space is at a
premium.

Certain to command attention at
the point-of-purchase, these Bendix
displays may be used separately, or
together as the “Perfect Pair.”
Each attaches to the merchandise,
thus occupying no floor space.

the man be

SIBLEY McCASLIN,

The growth of the Point-of-Purchase
industry in recent years has. been
phenomenal. National advertisers spent
$700,000,000 last year in this fast-
growing medium. The year before
showed a gross volume in excess of
$630,000,000. 1953 looms ahead as a
still greater year for the producers of
point-of-purchase displays.

Advertisers whose point-of-purchase
efforts once consisted of a reprint from
a national ad, now concentrate great
effort in the development of complete
and effective display programs, de-
signed to move merchandise at the re-
tail level. It is here at the point-of-
purchase where the decision to buy is
usually made. The best job of plan-
ning a great campaign can be lost un-
less proper attention is given to adver-
tising at the retail outlet.

It is here at the point-of-purchase
that the real battle for attention begins.
With the return of the buyers market,
the dealer must provide choice of
brands, models, styles and colors. Mer-
chandise poorly displayed has only a
limited chance of being seen, let alone
sold. And yet, as the inventory is in-
creased and properly displayed, space
problems are created. And so the adver-
tiser, competing vigorously for limited
space, must provide display material
that will move his particular brand.
The same effort that goes into his na-
tional ad campaign must be projected
into the preparation of point-of-sale
material. His display must feature an
“idea” that attracts attention to, and
creates the impulse to buy, his product.

Who provides this “idea” that makes
for a successful display? Who is re-
sponsible for the display given pre-
ferred space in a store crowded with
merchandise—the display that really
moves merchandise? The “idea” may
come from one of many sources. Often
the basic thought has been provided by
the account executive, the agency, the
dealer, or the advertiser himself. It

VICE-PRE:!

an behind the display

CASLIN,

VICE-PRESIDENT, KLING STUDIOS, INC., CHICAGO

sometimes results from the combined
efforts of many.

The man usually responsible for the
idea is probably the least publicized
figure in the advertising industry. This
unsung hero is most often the display
designer. He seldom meets the adver-
tiser, his work is never signed; and yet,
working closely with his team of copy
writers, artists, production men and ac-
count executives, he contributes most of
the ideas that sell displays that in turn
sell the merchandise.

Where do you find this hidden genius
—the guy with the “ideas”? Long
realizing the necessity of corralling
creative talent as a means to keeping
equipment in operation, many of the
producers of point-of-purchase mate-
rial have established “art departments”
whose function it is to produce the
sketches that sell the displays. For the
display industry is in itself competitive.

Many of the nation’s top designers
have joined forces with display organi-
zations which have set up complete
merchandising services, from _ init‘al
plans all the way through finished art
and production, regardless of the mate-
rial or process involved. In such an
organization, where the development of
the “idea” takes uppermost priority, the
designer finds fertile fields for deve!-
oping his ideas, unhampered by limited
production facilities.

Let us take a closer look at a “top”
display designer. What are his requi-
sites? What abilities are necessary to
design displays that move goods?

It is difficult to determine his back-
ground by looking at his work. He may
have been a window trimmer from
Macy’s, a graduate of Pratt, or a sign
painter from Paducah. The type and
size of the organization by which he is
employed makes its own particular de-
mands upon his talents. If he is em-
ployed by an organization which pro-
position of lettering in relation to the

Art Director & Studio News / November 1953

duces displays by all processes and of
every material, obviously his talents
must be versatile. The following re-
quirements are usually made of the
“top” display designer:

1. His knowledge of merchandising
must be broad. Experience in many
retail fields is essential to the design
of display material that will be accept-
able to the Advertiser, welcomed by
the retailer. The retailer must insist
that displays justify their space rental,
that they more than produce sufficient
volume to pay for the space they
occupy.

2. The display designer must trans-
late his ideas into visual form. Layout
skill is vital in the execution of his
black and white sketches for presenta-
tion. Constantly working against dead-
line schedules, speed is all-important;
in developing color sketches, he there-
fore resorts to the use of chalk as a
medium. The “top” designer usually
masters the technique of rendering
fast, clean pastel drawings.

3. Even though the designer is sel-
dom called upon to execute the finished
art, his ability to render illustrations
in a comprehensive form is necessary.
Particularly in developing sketches or
samples for lithographed displays,
where the use of figures and product
illustrations most often appear, is this
skill important. When a sketch of a
girl appears, even on a rough visual,
she must be attractive, for often sound
ideas are overlooked because the fea-
tured figure is a “hag.” Nothing is
more irritating to the advertiser than
to see his product appear out-of-draw-
ing.

4. Effective and well-executed copy
treatment on a display is fundamental.
Lettering must be a vital part of the
layout. Even though the designer may
not be compelled to execute lettering in
comprehensive form, he must give care-
ful consideration to style, size and

complete design. A “top” des‘gner in-
dicates his own cony treatment on the
rough visuals.

5. Knowledge of display production
is essential in developing practical
ideas. The designer must be _ thor-
oughly familiar with all processes and
materials involved in the production
of displays by his organization. New
materials and methods of fabrication
are constantly being introduced. His
knowledge of production costs must be
kept up-to-date, for always he designs
against a given budget.

6. The “top” designer is, in his own
right, an engineer. Every new advance
or innovation becomes a potential ele-
ment in point-of-purchase structure
and design. He is constantly working in
the 3d dimension. Every new applica-
tion of light, motion and materials is
translated into display use. The de-
signer is often seen cutting cardboard,
working with wire, metal, plastic or
wood.

7. The designer most valuable to his
organization is the one who has a
“sixth sense” for showmanship. Through
experience, he somehow comes forth,
often at the last minute, with the per-
fect answer for the “idea” which satis-
fies the advertiser, his distributors and
dealers.

Point-of-purchase strategy is experi-
encing significant revisions as a result
of new marketing methods. The self-
service or self-selection trend has in
itself made completely new demands
upon point-of-purchase advertising.

Today’s designer abreast of the times
continues to come up with the right
answers. His work shows ingenuity and
merchandising skill that is unsurpassed
in the advertising field. His displays
create that impulse to buy merchandise
on sight. So the next time you walk
into-a retail store and see his product
well displayed, “you better hold on
tight to your wallet.”

animation

JACK ZANDER

(a) Industrial design in animation
should be kept clean and wind-swept,
action planned to minimum amount of
movement so that the eye doesn’t have
to follow too much at once. This scene
is from a public relations motion pic-
ture, “Oil, The Invisible Traveler’,
for the Shell Oil Company.

(b) This Robert Hall spot is a fa-
mous one. Its value lies in the complete
coordination of jingle with character
movement, plus the delightful, though
simple antics of the five Robert Hall
men. Character movement of all five
men was kept basically uniform for
easy attention, but relief was offered
from over-staticism by the antics of
man on the end.

(ce) This Shell Oil “Flying Engine”
spot was done in a limited animation

technique, best illustrates the ease with
which animation lends itself to imagi-
native and stimulating situations, and
allows actions which would be impos-
sible with live action photography.

(d) Defying the rule of ‘keep ’em
clean and uncluttered with a minimum
of mass movement’ this Post Toastie
spot gained force by having action fall
into uniform patterns of movement.
Spot was fully animated.

(e) Simplicity of characterization
and design is illustrated in this TV
commercial for Post’s Raisin Bran.
Spot was done in a limited animation
technique, with only a few scenes to
keep audiences’ attention focused on a
minimum of action for the maximum of
time. Spot won the Art Director’s Club
award for limited animation in 1952.

(ce)

Formerly with Warner Brothers
where he animated Looney Tunes and
Merrie Melodies and with the anima-
tion department of MGM where he
was responsible for many of the Tom
and Jerry series, Jack Zander now
heads up the thirty man animation
staff of Transfilm Incorporated. He is
responsible for some of the best known
animated figures in the TV Commer-
cial world and for a series of animated
animals best known in the industry as
Zander’s Zoo who figure importantly in
industrial films for Life, The Greater
New York Fund, The Continental Can
Co., and others.

It would be interesting in discussing
animation to go right back to the be-
ginning, where motion picture anima-
tion really started. For years, people
went to great trouble and effort mak-
ing drawings look as though they were
alive by using several different devices,
but it wasn’t until the motion picture
came about that they could really try
their hand at making things move.
When motion pictures really got going,
the animation business picked up a
little and people were engaged in mak-
ing animated cartoons. The chief prob-
lem was to create motion and tell a
little story sometimes with titles.

The big turning point came with the
advent of sound pictures. The anima-
tion workman now had much more lee-
way with sound effects and musical
scores. The Mickey Mouse animations
had a basic tune running throughout
which synchronized with all the char-
acters’ actions. This was the first ex-
ample of one of the strongest points
in a good animated picture, commercial
or theatrical — that is, that sound is
synchronized with the motion and that
there is a jingle of some kind running
in the background. It’s very easy to
make that jingle come to life and make
a combination of sight and sound.

Television has brought about another
broad step in animation. Here you have
to take a mediuri—animation—which
until TV was made mostly for enter-

tainment, and you have to develop me-
thods to make it ‘sell’ and, at the same
time, be entertaining and easily seen
on television.

Further, the commercial field pre-
sents problems over and above those
of the theatrical animator. The anima-
tor has to get over the message of the
sponsor who is paying for the job. He
has to strongly identify the sponsor’s
product; usually there is a jingle that
somebody has dreamed up that has to
be animated; he has to make it enter-
taining (which is no mean trick); and
last, but not least, there is the budget.

When animation was first applied
to television, the then present tech-
niques clearly proved to be inadequate.
The familiar type of rendering was
not strong enough because of imper-
fect TV transmission. The best com-
mercials brought out good strong de-
sign treatment of characters, and broke
away from the Disney-type with the
soft, mushy animation. When anima-
tion started to work on television com-
mercials, the newer and stronger styl-
ing was one of the first steps accom-
plished.

The most important part of any TV
commercial has become the storyboard.
Sometimes there is a complete story-
board, sometimes there is only a rough.
Sometimes the animator has to make
up his own. The ideal type tells exactly
what will happen throughout the pic-
ture. It contains al] commercial ele-
ments, desired action and close delinea-
tion of characters. There is not much
left to the imagination on those scores.
Of course, there are akways things in
animation that have to be left up to
the producer. He can’t be tied down
completely because animation isn’t that
kind of thing.

The storyboard is the controlling
part of the picture. If the storyboard
is well planned, it accounts for every
action and every line spoken. Too many
times the animator gets storyboards
for thirty second spots that are so

(d)

Art Director & Studio News / November 1953

overloaded with ideas, actions and sell-
ing points that they could run thirty
minutes. It is impossible to get all the
ideas usually wanted in a film and still
see each one. Storyboards are too often
overloaded with action and only one or
two words here and there. When the
animators finally get the sound track
to work from, they only have three or
four feet to show. That happens
when the storyboard is not well
planned. You can draw any number of
pictures and look at them and say,
that’s fine, that’s wonderful, but you
can’t crowd everything in and expect
good results. It won’t work. A well
planned, well timed storyboard will re-
sult in a good picture.

The animated film takes many steps.
Roughly, they run from the storyboard,
to the sound track man, to the lead
sheets showing the sound track that
the animator reads, to the actual ani-
mation following the sound track, to
the cutter who pieces the film together
with the sound track, to the layout
man (who usually did the first pro-
duction storyboard) who adjusts the
storyboard to the actual production and
presents it to the client, to the camera-
man who pieces the whole thing to-
gether and takes the film frame by
frame, he would get a rough idea of the
time and money it takes to do a good
animated job.

It has taken between five and seven
hundred man hours to make some ani-
mated pictures lasting only forty sec-
onds. Fortunately there are many peo-
ple who are expert at these many steps,
and are able to do it now as though it
were second nature.

Animation is to a great extent, pure-
ly a labor proposition. If there are five
hundred drawings in a picture, it will
cost so much, and if there are a thou-
sand drawings, it will like as not cost
twice as much. That is what really
controls the cost of animation and that
is the main thing the animator learns
from an agency’s storyboard. It can’t

be made too clear, that if the animator
can expect from all agencies a complete
job on a storyboard (or the opportunity
to do a complete job himself) which is
full from beginning to end, that a
better and cheaper picture results. If
the number of characters involved,
number of backgrounds, type of sound
track and possibilities for short cuts
such as using limited rather than full
animation are clear at the storyboard
level of production, the animator can
plan his work more carefully and the
agency knows what they are getting.

Here are a few don’ts...

1. Don’t plan too much action and/
or subject matter in an ani-
mated commercial film spot.

2. Don’t mistake animation for live
action. Live action has its place
in commercials . . . animation
has too. Animation is purely an
art, or science or craft of its
own, and should be treated as
such.

3. Don’t try to do in animation
what could be better in live
action.

4. Don’t ask the animator to ani-
mate “photographically,” be-
cause he just can’t do it and get
anywhere near good resu!ts.

5. Don’t treat animation technical-
ly as you would live action. If
you’re shooting live action, you
can put your camera up and
have your actors and actresses
go through the motions of what
they are trying to do any num-
of times, until you get a take
that you like. The animator
can’t afford to do that because
once he’s made a picture, it is
done and no changes. He has,
of course gone back and cor-
rected mistakes, but really,
there is no such thing as select-
ing the best piece of footage
and using it, as in live action.

6. Lastly, don’t expect ideas to
come popping out all over the
place. Nothing aggravates a con-
scientious animator more than
to be presented with a rough
storyboard and the statement
that if he can think of anything
better while working out the
estimate, it will be accepted.
Ideas for animation just don’t
come that way. Those who have
tried to dream tp commercials
‘and work out idez s, storyboards,
scripts and jingies know that
sometimes it takes three weeks.

ral

upcoming
photographer

ARNOLD SORVARI

Food, still-life and experimental pho-
tography are upcomer Sorvari’s spe-
cialties. Since opening of his own
New York studio in January of this
year, he has done work for such publi-
cations, agencies and advertisers as
American Weekly, Biow Co., Dell Pub-
lications, Esquire, House Beautiful,
McCall's, National Dairy Council, Par-
ents’ Magazine, Seventeen, and Today’s
Family.

Upper left photo appeared in Octo-
ln i's Seventeen. Lower right pix was

April’s Esquire. Photo at lower left

experimental.

Before opening his own studio Sor-
vari worked as a color technician and
photo finisher for several of New York’s
top photographers. He studied photog-
raphy at Rochester In-* tute of Tech-
nology and supplemented his photogra-
phic training and experience attending
design classes to stimulate his creative
thinking.

RELRLL LLL

Production

News

English type specimen showings, pre-proofs for ROP newscolor, plate conversion

process and new offset paper available to ADs and printing buyers

Pre-proofs for ROP newscolor:
Harry Warnecke, Manager of the Color
Studio of the New York News, has
developed a method of producing fuil
color proofs from halftone positives.

Known as the Warnecke Color Proc-
ess, it gives platemakers an opportunity
to color correct tones in the separations
before any metal plates are made.

Process does not involve any costly
equipment or materials. Designed for
coarse screen work, it is adaptable to
fine screen letterpress or lithography.

Halftone positives are made from
continuous tone separation negatives.
After development, silver is removed
from the gelatin dots and each positive
is dyed one of the process colors. Dyed
positives are then placed atop each
other in register on a white board (or
sheet of paper to be used on the job)
and viewed as proofs. Notations are
made regarding corrections desired and
new positives are exposed and devel-
oped to achieve the desired correction.
Process reduces or eliminates much
re-etching and finishing.

New white, opaque paper: A spe-

cial grade of offset paper containing
titanium to assure whiteness and high
opacity is being offered by Shapiro
Paper Corp., 450 7th Ave. Brewster
Offset Opaaue is said to have a high
bulk, good folding qualities and a rich
finish. Paper is packed in skids and
stocked in 50, 60 and 70 lb. weights
and in the following sizes: 35” x 45”,
38” x 50”, 41” x 54”, 42” x 58”, 45” x
56”, and 50” x 69”.

Curtis paper additions: To the stan-
dard sizes in Curtis Antique and Curtis
Stoneridge 23 x 29 has been added.
Curtis Antique is now available in 80#
cover and 60# text. It is surface sized
and suitable for offset lithography as
well as letterpress printing.

Art Director & Studio News / November 1953

Illuminated magnifier offers ease

and accuracy: A 10-power illuminated
pc ket magnifier has been introduced
by Colwell Litho Products, Inc., Min-
neapolis. Colight magnifier is designed
to give a well defined picture by means
of a penlight set at a 23-degree angle
and a special filter glass situated at
the aperture. Good for plate buyers,
artists, and art directors, cutaway
section of the lens mount enables user
to make corrections on lithographic
plates both on and off the press. Mag-
nification is provided by adjustable two-
rlano-convex lens elements which are
highly corrected for color and other
aberrations.

TELEGRAPH
CHAMPIGNO

Venus Bold Extended is available at
Empire Typographers in 18, 24, 30,
36, 42, 54 pt. sizes. Venus Extrabold
may be had in 24 and 36 pt.

English Type Specimens: American
Wood Type Mfg. Co. has published a
comprehensive book of type specimens
issued by Stephenson Blake, the “Caslon
Letter Foundry” of Sheffield, England.
Genealogy of this famous foundry dates
from 1546 with such names as William
Caxton, William Caslon, Henry Caslon,
Joseph Fry, Thomas Cottrell, Robert
Thorne and William Thorowgood.

Among the faces featured are Tho-
rowgood Italic, Fry’s Ornamented, Tea-
Chest, Chisel, Keyboard and many
others. Free copies of the booklet are
available from American Wood Type,
sole American agent for the type, at
35 W. 3rd Street.

New paper announced: Folder de-
scribing Snowdrift Cover, a blue white
antique stock for offset and leterpress
printing, issued by The Forest Paper
Co., Inc., 87 Vandam St.

Printed cutouts: 30 page booklet, from
Accurate Steel Rule Die Mfgrs, 22
West 21st Street, shows printed cut-
ou ~ for use in increasing the selling
effect of advertisements. Each is re-
produced in large size with space left
for copy.

New Conversion Process: Harrison

Color Proces., Phi :delphia, has devel-
oped a new technique of plate conver-
sion from one printing process to
another. Final plate image may be
reduced or enlarged.

Gold color printing, another improve-
ment claimed by the company, costs
less with their new method.

Monophoto, 2 photocomposing machine
manufactured by Lanston Monotype
Machine Company, had its first public
showing in Washington at the ITCA
Convention.

A folder describing the machine may
be obtained from the company at 24th
& Locust Streets, Philadelphia 3, Pa.

Plastic plate coating: A new, plastic,
high-speed sensitized coating for metal
letterpress and offset plates has been
developed by Eastman Kodak Company.

Known as Kodak Photo Resist, it is
waterproof, has high stability and high
photo sensitivity.

It is unaffected by humidity and
temperature changes, keeps high speed
indefinitely, can be precoated days or
weeks ahead of use during slack times,
thus speeding operations when produc-
tion 1s heavy.

stop it down

and shoot it sharp!

JOE D. POTSCH, A. D. OF HOTPOINT
This lens clicking business is fascinat-
ing. A pleasing illustrative photo can
be as refreshing as a well rendered art
illustration, in fact, the appearance of
authenticity can make it a key prospect
convincer. There is no such thing as a
“fairly good” photo. It has to be good
and the photographer is not always to
blame if it isn’t—it’s up to the Art
Director.

As a manufacturer of twelve distinct
lines of home appliances, Hotpoint uses
a considerable amount of photography
for national advertising, movie films,
slide films, sales promotion literature,
product service, sales training and you
can name the others. This is all in the
form of various techniques that photo
work offers from product black and
whites, illustration in black and white
and color, ektachrome, die transfer,
carbro and color-toning. National ad
photo illustrations are made in either
New York, Chicago or Hollywood, the
three film and photo centers of the
country — Hollywood being a recent
source for national magazines because
of the Ozzie and Harriet Nelson TV
and radio promotion of ’52, '53 and ’54.
However, this being a Chicago number
of “AD & Studio News,” let’s talk about
what happens around this town in the
way of exposed film for manufacturers.
The studios here have thousands of
good samples—beautiful! Note to studio
representatives: “Take it easy boys—
besides our phone service is lousy.”

Chicago serves wide area
Chicago offers everything you can
ask for in the photographic whirl, in
fact, several days ago I walked into
one of our large studios and found a
photographer friend stuttering. The
knock-out was that he actually was
shooting for a New York account. The
studios, of course, do not rely entirely
on this area for business. You can walk
into any of the major set-ups and find
them creating for accounts from Cin-
cinnati, Louisville, Minneapolis, Cleve-
land, Indianapolis, Texas, Kansas City
and out of the states. Don’t misjudge
this persen—tomorrow if the boss said,
“Joe, run down to L. A., we need some

color advice on a black and white
film,” this Art Director would be ar-
ranging an expense advance and plane
fare in the next thirty seconds.

The problem of photography as a
manufacturer with a merchandising
unit (Sales Promotion, Advertising,
Sales Training) is quite complicated es-
pecially in a full-line appliance busi-
ness. Periodically the appearance of a
product changes due to new styling and
addition of new features. This is all
very good because these advancements
stimulate sales by creating new de-
sires. This, of course, calls for a com-
plete change in everything written or
printed about the appliance. The engi-
neering of the product has been going
on for several years before its introduc-
tory date (Hotpoint’s revolutionary
pushbutton range from pre-war to post-
war). Usually a new product will be
introduced to the public about the first
part of the year and an engineering
model or models will be created in
mock-up form six months earlier. New
parts and features will be made up
from blueprints in wood, plaster, metal
foil and hand shaped metal. Dies and
tools are being made up—final appear-
ance and functional features have only
been orally okayed by the management
committees—so this is our photographic
model. We are ahead of everything but
it has to be done. Product shots are
subject to final engineering O.K. and
this calls for plenty of corrective re-
touching. Photo illustrations where the
product appears must be made. Atmos-
phere pictures such as recipe photos or
background shots can be made in trans-
parency form if the product does not
appear.

Product features emphasized
While all of these photographic shen-
anigans are taking place for the various
products, the promotion specialists and
copy writers are busy planning and
writing all of the prospect-busting lit-
erature that may call for additional
illustration or feature shots that the
Art Director has not anticipated. The
photo direction has all been planned
around the features of the product an-
nounced by the Product Planning De-

Hotpoint kitchen set constructed in
mock-up at the studio. Ektachrome shot
made into die transfer with some re-
touching.

Black and white copy of finished color
shot. Feature of the Laundry is the
safety of Electric Water Heater as
illustrated by boy’s proximity and hand
carelessly placed on it.

partment and Engineers at numerous
meetings attended by our marketing
staff, publicity people, home economics
gals, sales promotion specialists, the
Art Director, agency representatives
and the night watchman. Occasionally
some of the photo work is done in
Hotpoint’s Home Institute when spe-
cial food shots or operation instructions
are required, or in the confines of the
Little Theatre or Engineering confer-
ence rooms when a hush-hush product
is being finalized but more usually the
photo work is done at the studio. The
working staff at the studio when new
products are involved consists of an
engineer assistant complete with blue-
prints, photographer’s putty, screw
driver and scotch tape, a product plan-
ning man who nods his head diagonally,
a couple of home economics cuties, one
or several photographers and assistants
who keep running from the darkroom
with unspoiled film in holders, a stylist,
the g. d. Art Director, and the studio
representative (salesman) who is never
there because he is continually calling
in to say he will be there in thirty
minutes. Out of this chaotic melee
comes a job well done—and it happens
in Chicago.

list yourself now in the
3rd buyers’ guide

Art Director & Studio News /

tell all
these buyers
about yourself

=) Gw”
tape

(pec nr
fe
:

Bey

For as low as $1.00, you can keep
in touch with all the buyers you
want to reach right through the
year. It’s the biggest advertising
bargain for art, photo, and
graphic art firms!

The 3rd art, photo, graphic arts
BUYERS’ GUIDE

will be published in the February

1954 issue of Art Director & Studio News

supply information.

Compiled for art directors and all and graphic arts buyers.

buyers of art, photography, typography,
printing plates and allied services, the
3rd Buyers’ Guide is the established and
accepted industry-wide source published
with industry-wide circulation
guaranteed.

Details on the following pages.

the Graphic Arts

Do it Now!
It’s Bigger!
Over 250 separate categories listed,
covering every service of art, photography
and the graphic arts. (See last page
of this anouncement for complete list
of categories. )

after deadline and asked for

one of 12 monthly issues and
must be out on time.

Send your listings in now,
It’s Better!

An expanded editorial reference
section in 1954 increases the Guide's

right now, and be sure.
Corrections will be taken
up to deadline.

November 1953

In past years, so many have called

extensions. We wish we could grant
them, but the BUYERS’ GUIDE is

Ccasy -tO-use, up-to-date source of

Your story, your listing, your display ad
will reach over 8000 art, photo,

Listings as low as $1.00 per listing.

The Buyers’ Guide — The Market
Place for Art, Photography, and

the

rd Buyer's Guide

is the only comprehensive directory pub-

lished with industry-wide circulation guaranteed. Published for
art, photo, and graphic arts buyers, the Buyers’ Guide is your
easiest, least expensive method of reaching your entire market.

What it does for you

@ Makes it easy for buyers to find and
call you. Lists your name, address and
phone number under logical, easy-to-use,
alphabetically arranged categories. Over
250 categories. Only $1.00 per listing.
e Repeats and repeats and repeats your
message. New, invaluable editorial refer-
ence material will keep the Buyers’ Guide
within easy reach of the art, photo and
graphic arts buyer throughout the year.
He will use it often, see your name re-
peatedly. No other medium or method
will work as long for you.

© Reaches your market. As official publi-
cation for the National Society of Art
Directors and live-wire trade paper for
the entire industry, AD&SN and the
Buyers’ Guide cover your market coast-
to-coast. As part of a regular issue of the
magazine, the Buyers’ Guide reaches the
full regular circulation of AD&SN plus
the thousands who buy the Buyers’ Guide

alone.

Who gets it

e Every member of the National Society
of Art Directors, whose members control
the largest volume of art and photography
bought in seventeen major art markets.
e Over 8000 art directors, art buyers,
advertising managers, sales managers,
type directors, production managers, edi-
tors, book publishers, agency heads and

account executives. Buyers in every branch

The Buyers’ Guide —

of the advertising and editorial market,
periodicals, department stores, agencies,
direct advertising.

e Multiple readership. Many copies are
in agencies and firms where more than
one person buys your services.

e Practically everyone who sells art, pho-
tographic and graphic arts services. The
Buyers’ Guide is the only directory pub-
lished for this market.

e Note the major industry sections and
the specific services listed in each group.
ADs, art and graphic arts buyers, when
they receive this Buyers’ Guide, will liter-
ally hold the entire field in their hands.
You will want to be included in this
comprehensive directory.

e Your own particular service or spe-
cialty, if not listed on the last page of
this announcement, will be added for you.
e See last page of this announcement for
the most detailed cataloging of art, photo,
type, and allied services ever published.
@ Art Director & Studio News maintains
the only national up-to-date name and
address file of all listings and subscribers.
Time and again we have “found”’ artists
and photographers and printers for edi-
tors, ad managers, art buyers who have
called. There is no charge for this service,
either to those listed or those served. It
is all part of ADESN’s way of helping
Buyers’ Guide work for the industry.

The Market Place for Art, Photography, and the Graphic Arts

[ ij you want
to get more
business...

tell all buyers about yourself
and your services in a space ad

Take full advantage of the Buyers’
Guide issue’s tremendous coverage of
the entire art buyers market plus their
constant use of the Guide during all of
1954.

Here's your chance to introduce your-
self to new accounts as well as to re-
mind your present clients of all of your
services.

And at the right time, too. Buyers go
through the Guide when they're in the
market to buy. A space advertisement
will do its strongest selling job for you
right then and there.

You can reserve space in the Buyers’
Guide issue right now. Despite the
bonus circulation, rates not be
raised. They will remain the same as
those for regular issues.

Don't make the same mistakes several
artists and photographers did last year
when they decided they wanted to be
in the Buyers’ Guide after it appeared.
Reserve your space now.

will

Here are several important details:

depth will be the same as pres-
ent issues of Art Director &
Studio News.

The Buyers’ Guide will be re-
produced by offset—as has every
issue of the magazine.

Deadline for display ads is
December 31, 1953. For your
own benefit, reserve your space
early. Use the space reservation
form now. Space will be sold on
a first come, first served basis,
so make sure there’s a place in
the Buyers’ Guide for you to tell
your story.

1 Size of page, column width and

GCS Bo

instructions

instructions for all listings except
studios and representatives.

1. Each listing is 3 lines. Line one is for
your name and phone number. Line two
is for your street address, city and state.
Line three is optional and is for descrip-
tion of your services. Copy for 3rd line
is limited to 45 characters.

Sample listing:

Guy Fry
1810 Rittenhouse Sq., Phila. 3, Pa.
cublic relation booklets, packaging

KI 5-2448

2. There is no limit to the number of list-
ings you may order. When ordering more
than order form will accommodate, please
list on separate sheets the exact wording
of each listing.

3. To order listings, put category number
(see mext page) on order form below.
Write 3rd line copy on the same line as
category number. Fill in coupon at bot-
tom of this page.

4. Each listing is $1.00.

Instructions for representatives.

1. Complete coupon at bottom of this page.

2. List artists or photographers represented
on blank lines in coupon. After

name you may describe in one or two
words media, subject, or technique.

each

SAMPLE LISTING

65. art studios

Creative Ad Art BR 2-7138
9304 Santa Monica, Beverly Hills, Cal.

order form

YES. I want to be listed in the February 1954
issue in the 3rd Annual Buyers Guide. I am
ordering the following: *

Listings at $1.00 each $

Studio listings at $5.00 each..$
Representative listings $

$1.00 for representative plus $1.00 for
each artist or photographer liste.

Subscription to Art Director
& Studio News $
($2.00 per year, $3.50 for two years).
Additional copies of Buyers
Guide $
(Subscriber receives one copy. Listing
does not include copy.)
Copy is $1.00 each.

Enclosed is check/money

order for $
(no listings accepted without remit-
tance.)
I am interested in display advertising.
Please send rate card or

have representative call.

Deadline for listings is December 20, 1953. Don’t wait — get yours in now.

Art Director & Studio News / November 1953

Art Director & Studio News e

Name

43 E. 49th Street, N. Y. 17

3. Example:

Arthur P. Koch PL 8-2455

424 Madison Av., NY 17

Kenneth Davies, trompe |'oei!

Sante Graziani, historical

Eric Godal, cartoon

4. Listing is $1.00 for representative (in-
cluding address and phone) plus $1.00
for each artist and/or photographer listed.

Instructions for studio listings.

1. Studio listings should be used by all
around service organizations.

2. To order listing, complete coupon at bot-
tom of this page. On blank coupon lines
list any or all services which apply. Refer
to list under heading “Studios, Art” or
“Studios, Photo” on next page.

3. Listing is $5.00 whether one or all services
are checked.

4. Sample listing below:

ww
c
Zz
:
. c
g 3
g 2
sas OTHER
western design
*

e Plaza 9-7722

Print exactly as you wish it to appear in Guide

Address

City. Zone, State

Tele phone

Re presentative (if any)

Category No.

For individual listings, maximum 45 characters for 3rd line copy.

classification

ART
1. advertising design
2. airbrush
3. annual report
. architectural rendering
. art books
art directors, consultant
. art supplies
. book jackets
9. booklets, direct mail
10. Bourges technique
11, car cards
12. caricatures
13. cartoons
14, catalogs
15. charts
16. collages
17. color separations
18. comic books
19. continuities
20. displays
21. employment agencies
22. exhibits
23. fine art for industry
24. greeting cards
25. heraldic design
26. home economist

Oonowa

27. ideas

28. labels

29. layouts

30. leather designs

31. letterheads

32. maps

33. mechanicals

34. oil painting

35. package design
36. pen and ink

37. pencil

38. pharmaceutical design
39. plastic engraving
40. Pochoir

. portraits, painting
42. portraits, sketches
43. posters

44. presentations

45. products styling

46. record albums

47. reproportion calculator
48. scale models
scratchboard

50. sculpture

51. silk screen

n
~~

52. spots

53. stock art

54. tempera

55. trade marks

56. wash drawing, b&w

57. wash drawing, color

58. wood engraving
ee eee ee (other)

ILLUSTRATION

59. animals

60. automobiles

61. aviation

62. characters

63. chemical

64. children

65. children's books
66. decorative-humorous
67. fashion & style
68. flowers

index

. food

. furniture

- general

. glamour

. historical

. home furnishings
. industrial

. interiors

. jewelry

. landscape

. marine

. Medical

. men

. product-still life
. scientific

shoes

. sport

. Story

. technical
. teenagers
. women

LETTERING

90.
91.

92.

93.
94.
95.
%.

alphabets, designed
comp. lettering
engraved in plastic
lettering

photo, film, process
presentation
speedball

(other)

RETOUCHING

97.

98.

99.
100.
101.
102.
103.
104,
105.
106.
107.
108.
109.
110.

WI.
112.
113.
114,
115.
116.
117,
118.
119.
120.
121,

art

carbros
color toning
dye transfer
fashion
Flexichrome
industrial
Kemart
photo, b&w
photos, color
products
renderings
technical
transparencies

animation

art

cartoons

film production
historical postefs
lettering

models

slides

story boards
three-dimensionals
titles

PHOTOGRAPHERS

122.
123.

124,
125.

126.

127.

128.

129

aerial
animals
architectural
babies
carbros

cats & dogs
children
color

130.
131.
132.
. general
134.
135.
136.
137.
138.
139.
140.
141.
142.
143.
144,
145.
146,
147.
148.
149,
. reportage
151.
152.
153.
154.
155.
156.
157.
158.
159.
160,

experimental
fashion
food

horticultural
hosiery
illustration
illustration for artists
industrial
interiors
location

medical

motion pictures
movie stars
murals

photo agencies
photomicography
portraits
products
publicity

set design

slide films

still life

stock photos
strobe

table-top
testimonial
three-dimensional
trick photography
VIPs

ens hee eae (other)

PHOTO REPRODUCTION SERVICES

161.

162.
163.
164,
165.
166.
167.
168.
169.
170.
171,
172.
173.
- montage
175.
176.
177.
178.
179.
180.
181.
182.
183.

174

b&w prints in quantity
carbros

color assemblies

color prints in quantity
color separations

color toning

copy of artwork
duplicate transparencies
dye transfer prints
Ektacolor

Ektachrome processing
enlargements
Flexichrome

one-shot camera service
photocomposing

photo murals

photo oil coloring
reproportioning

slides

strip-ups

transparencies
viewgraph slides
ere ee (other)

COPY PRINTS

184,
185.
186,
187.
188,
189.
190.

blueprints

copy prints
ozalids
ozachromes
photostats

van dykes
visualcast slides

GRAPHIC ARTS

191.
192.

193

194,
195.
196,
197.
198.
199.
200.
201.
212.

advertising presentations
binders, edition

binders, loose leaf
binders, mechanical
binders, phampniet
book cloth

collotype

display manufacturers
electrotyping

embossing

engraving, steel & copper
finishing

213. flexographic printing
214. flocking
215. gold stamping
216. gravure plate making
217. gravure printing
218. imprinting
219. indexing
220. labels
221. lacquering
222. laminating
223. letter services
224. lithography
225. mailing
226. mat makers
227. mimeographing
228. mounting & finishing
229. multigraphing
230. multilithing
231. paper distributors
232. pebbling
233. perforating
234. photoengraving
235. photogelatin printing
236. plastic printing plates
237. poster printers
238. printers, letterpress
239. rotogravure printers
240. sheet-fed gravure printers
241. silk screen printers
242. stereotypers
243. swatching
244. tabbing
245. tags
246. thermographers
247. typewriter composition
248. typographers, hand
249. typographers, machine
250. typography, old-fashioned
251. varitype composition
252. varnishing

Tere eee (other)

ART STUDIOS

253. (Check any or all)
creative
design
direct mail
illustration
layout
lettering
mechanicals
packaging
posters
presentations
retouching
service
TV art
TTT. (other)

PHOTO STUDIOS

254. (Check any or all!)
children
fashion
food
illustration
industrial
interiors
location
motion pictures
product
reportage
slide films
still life

ART REPRESENTATIVES
255.

PHOTO REPRESENTATIVES
256.

= 7

. f& pes a 6

Art Director & Studio News

ARTIST WANTED

REQUIREMENTS: 4 HANDS,

with ability to use all4 atonce. Apply
Chicago’s fastest-growing art studio

FELDKAMP- MALLOY, Inc.
185 North Wabash Ave., Chicago 1, Illinois
TELEPHONE: AN 3-0633

2172

SERVICE!

FAST, FINE

CALL TOSCA

the
bookworm
turns

by Carl Weiss,
visual market
research

After seven sexy years of pocket-book
covers, a turn to other cover themes
is developing. This is clearly indicated
in the cover policy of Signet Books.
It is significant because New American
Library (Signet for fiction, Mentor for
non-fiction) is top dog of pocket-book
publishing; sales last year were over
42 million books.

Why the switch? Here’s a quick art
history of pocket-book cover develop-
ment over the last 12 years by Signet’s
AD John La Gakes. Early Penguin re-
leases (now Signet Books) had no sex.
Just pedestrian illustration, typical of
early pocket-books. But sales went well,
the price of 25c was right and who
couldn’t use a book for a train or bus?
Then came designer Jonas and his pow-
erful poster style covers which went
over big, and the nation kept buying
pocket-books. Penguin Books grew into
Signet Books and switched to Madison
Avenue.

Next the nation’s pocket-books with
their 25c price, cheap newsprint, cheap
cover stock, cheap binding began to
ape movie posters and its girls! Signet
Books strongly attempted to uphold
necklines despite influence of TV.

This year, Gathings and his con-
gressional committee loudly slammed
sensual content and semi-nude situa-
tions, supposedly illustrating pocket-
books. The nation read his committee’s
reports, yawned — turned to pocket-
books. Then came the delayed reaction.
The public was bored. Sales slackened.
Time for a change, or trouble.

During this swing from stylized to
sexy illustration, Signet’s policy makers
kept moderating sex and upgrading il-
lustrations to good paintings. A self
taught artist, James Avati, came to
Signet.

A SIGNET GIANT

Every painting for Signet cover had
to be good enough to frame. Readers
from Canada to India write in offering
to buy originals. Signet kept the titles
off some cover art so readers can frame
them, as well as this new format dis-
tinguishes it from lower price ranges.

The cover trend toward paintings
was gradual. Other pocket-book com-
panies followed Signet’s lead. Now that
sales of sexy covers are dropping off,
the good-paintings policy is vaying
dividends.

One big curtain to real creative cov-
ers is the policy of smothering artists
with company do’s and don’ts. Signet
artists read the manuscripts rather
than get the AD’s or editor’s ideas at
first. His art becomes his own unique
creation rather than doing what is al-
ready “comped” up for him.

Overplaying the cover situation is
out at Signet. The situations are in
realistic settings. One third of the na-
tion live in slums and ill furnished
rooms, The covers follow this believable
picture of life. Tobacco Road by Avati,
for example, avoids overstatement, yet
has drama‘rarely realized in most art.
Note the movie photo approach he
uses. Sharp focus is on face and grad-
ually softens until props, feet and other
details outside of the focal point be-
come hazy and undefined. The painting-
cover has an accented dominant ele-
ment, a subordinate element, few de-
tails or gimmicks. The reader can get
right into the situation.

The four color process plates on the
covers rarely get any hand tooling by
the engraver. The colors on the skin
are carefully painted with grey, cool
greens, blues and grey-greens against
the red. The faces and arms come up
natural instead of beef-steak-red.

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Never begrudge a
gravure advertisement
Its Sunday sult...

Art Director & Studio News

November 1953

Many able men contribute to the
advertisements prepared for gravure
production. Copywriter, art director,
artist, photographer, typographer, and
production men give the best of their
art, skill, judgment and experience.
Whether the reproduction quality of
the advertisements in print measures
up to the care and effort these men
have given depends to a great extent
on your choice of gravure processor.

To get quality finished positives,
find yourself a shop where the men
who do your work—photo-engravers,
retouchers, etchers, finishers — are
both skilled and dedicated to their jobs.
Andat Intaglio, more than at any other

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consistent quality is the constant aim
of all the people who work here.

The results speak for themselves
...can be readily seen in the pages of
leading magazines where Intaglio-made
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Leapinc production men and art
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their gravure exposures—both color
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(Continued from page $4)

that they were not getting an artist
that is desirous of doing layout.

“It seemed just over night that
there was a steady flow of Artists
coming in to register for employment
and on the other side of the ledger the
phone was kept plenty busy with calls
from agencies and studios for help. I
might mention here that never have we,
The Artists Guild, solicited for jobs, ex-
cept for a note about this service in our
‘Opportunity Knocking’ Column in the
Guild Bulletin. Today we are receiving
positions not only from Chicago studios,
agencies and manufac‘urers, but from
art sources of large and small cities
from coast to coast. We have been able
to fill many of these requests and to
place the right people in the right jobs
by the use of an organized system for
registering and classifying artists, art
directors, and other workers in Adver-
tising Art.”

Beth Turnbull,
Executive Secretary of
The Artists Guild of Chicago, Inc.

Photography in ebony

“Through the use of dramatic black
and white photographs, Ebony has
created a new mass audience. With a
circulation of over 500,000, two million
readers per month have become informed
on modern developments throughout
the world. This form of communication
has changed the thinking and living
habits of many people. In telling the
true story of all phases of American
life our photographers strive to bring
an accurate presentation of every con-
ceivable situation without going off the
deep end artistically. Unlike other
phases of photography this is one of
many requirements. The mood or feel-
ing in the picture presents the first
problem. This coupled with good com-
position, lighting and the photog-
rapher’s sense of journalism usually
results in a striking set of pictures
which are comparatively easy to incor-
porate into a layout. Occasionally pic-
tures must be augmented with other
elements to strengthen their editorial
value such as an unusual type which
breaks away from the normal format
or a reverse into the picture to tie the
type and photo together.

“Another important factor is the
sequence in which photos are shown.
The editorial material must be coor-
dinated with the pictures in a simple,
sincere, honest manner.”

LeRoy Winbush, AD,
Ebony, Tan, Jet

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A COMPLETE ART AND PHOTOGRAPHIC SERVICE UNDER ONE ROOF

For 35 years the name BIELEFELD

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ALL UNDER ONE ROOF

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The Monsen composing room is a pattern of efficiency.
Every known device for improving typesetting is in operation here.

Why spend your valuable time on typographic details when you can turn them
over to competent authorities at no additional cost. When you use Monsen

t h typographic services you are assigned a highly trained serviceman who makes
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your Monsen serviceman are the most complete and up-to-date typesetting

typography facilities in the U.S.A. . . . offering more than 750 type styles and all foreign

languages. Airmail puts you within a few hours of one of Monsen's three plants.
24-hour service assures rapid return of proofs.
Use coupon for full information . . . and free type book.

Every form is locked up for proofing. Special processes assure sharper proofs.

22 E. ILLINOIS ST., CHICAGO 11, ILLINOIS

Gentlemen: Please send me a copy of your
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about your nationwide service plan:

name
MONSEN-LOS ANGELES, 928 S. FIGUEROA ST.
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address
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trade talk

ART DIRECTION BALTIMORE
Lewis Waggaman,
formerly with D’Arcy Advertising, is AD
for VanSant, Dugdale BOSTON: The
Reingold Co. upped George F. Wilson to
AD CHICAGO: Harry Hult, formerly
AD. J. Walter Thompson, is now in
charge of al] creative production for Ad-
vertisers Art Council Sylvester J.
Zuk. former AD with Critchfield & Co. is
with Robertson, Buckley & Gotsch in the
same capacity COLUMBUS: Carl W.
Deibel is executive director of art and
production with Kight Advertising
DETROIT: William A. Brown from Pack-
ard Motor Car Co. to Brooks, Smith
French & Dorrance as AD KANSAS
CITY: Lawrence M. Weatherman from
Burger, Baird Engraving Co. to AD with
Selders-Jones-Covington, Inc LOS
ANGELES: AD Joseph V. Lawton from
McCann-Erickson, Chicago, to Erwin
Wasey & Co From Hirshon-Gartield
New York, Bertram Gader to AD with
BBD&O MINNEAPOLIS: Olmstead &
Foley Advertising elected AD Ward W.
Olmstead a partner and director
NEW YORK: Russel F. Rypsam, formerly
AD of Better Living now AD of Quick
Magazine Seventeen Magazine Art
Director, Art Kane, spoke last month at the
Columbia Scholastic Press Yearbook Ccn-
Robert H. Blattner designed
the book on Tahiti
Paradise’ by George T. Eggleston
Joe Wangro joined Dan C. Miller Studios
as V.P. and AD in charge of the illus
Charles O’Brien
to AD at Grant Advertising, was with
Hilton & Riggio Joseph A. Eiser from
Ruthrauff & Ryan to AD at Harold M
Mitchell Morris Robbins to Blaine
Thompson Inc. as art director Irwin
Perton named AD of Emerson Radio &
Phonograph Corp; was AD of Jaeger
Studios, Hillman Publications and Fuller
& Smith & Ros: PHILADELPHIA: Rich-
ard Cummins, AD of Gray & Rogers
moves to Geare-Marston in same capac
ity PORTLAND: Former free-lan-e
artist, John Semple, has been made art

ference
Voyage Through

tration department

director at Pacific National Advertising
SEATTLE: Ray Pederson to AD for

Miller & Co. from New York Office of

Hewitt, Ogilvy. Benson & Mather

ART & DESIGN CHICAGO Artists

Guild awarded a
gold brush to Walter Paepcke for out
standing achievement for service in the
cause of art Ray Shaffer. who op-
perates his own studio, has been ap
pointed editor of Britannica Junior, the

Art Director & Studio News November 1953

presenting...
BLOCK GROTESQUE
32nd Annual

of Advertising
and Editorial Art

THE ART DIRECTORS CLUB

OF NEW YORK

Techni-Process Lettering ..-

305 EAST 45th ST. N.Y.C. 17 -

MURRAY HILL 4-7981

To know the latest and best in
artist materials and equipment—
Newest Techniques
Latest Equipment
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Special Offers ra
Get your name on our “Palette Patter”
mailing list. Simply write to:

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made in our own laboratories.
Complete color, black and white

services.

corona color studios
37 West 47th St., N. Y. 37

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* MA 1-FG]OO in, Pittsburgh - 4029 Bigelow Bivd.
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When sales come from
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trade talk

15-volume reference work for school chil-
dren published by Encyclopaedia Britan-
nica . . . Kling Studios is making a film
on American-Marietta Company, “The
Industry Builder.’ John K. Turner and
Lee Boyd of Turner Advertising are work-
ing with Kling . . . DETROIT: McNamara
Bros. has taken over the entire 38th floor
at the Penobscot Bldg., and added illus-
trator James Jackson .. . Dave Slotkin,
illustrator, has joined Fitzgerald Studios

. Wesley H. Farrell, formerly with
Howard Swink, has been added to the
creative staff of Allman Co... . HOLLY-
WOOD: Maury Nemey opened offices as
Art Consultant in the Taft Building...
LOS ANGELES: Mordecai R. Craig is
now with Hal Stebbins, Inc., in the art
department .. . MIAMI: Gustav Bohland,
sculptor, has been commissioned to de-
sign the Annual Albert Schweitzer Medal
which goes to the person who makes a
major contribution to the humane treat-
ment of animals . NEW YORK: Irving
Bogen, lettering and design, has taken a
larger studio at 8 E. 48th St. PL 3-6370
.. . Dorothy Kotzen Studios, creative ad-
vertising art and production, have moved
to 550 Fifth Ave. CI 6-4470 .. . Marvin
Koenigsberg. designer, Al Noppe, re-
toucher, and Al Fatica, renderer, have
joined the Dick Chenault group...
DuBois Studio, headed by Lewis J. Du-
Bois, opened at 109 E. 36th St. Mu S-
7712-3. . . Jack Williamson and Ken
Walsh, formerly of Lever Bros. art staff,
have started the Bonart Studio at 207 E.
43rd St. OX 7-0946 Robert Crandall
Associates, Inc., custom color laboratory,
has leased the second floor at 222 E. 46th
St. MU 2-2253 Joseph De Gemma has
invented a plastic pallette with deep
pockets for water colors. It has trans-
parent covers for pockets and slits for
the brush Production Studio, estab-
lished by Sam Schwartz, has opened at
41 W. 33rd St. Will undertake art and
production for periodicals Lizzi Grun-
baum resigned as display director of
Barton's Bonbonniere to form a window
display company, the Trio Display Serv-
ice Jack Hetherington has joined
Tempo’s art department Nita Opitz
Co., displays, moved to 207 E. 43rd St.

BBD&O's AD, John Lynch, has been
made supervisor of ad art courses for
the extension division of City College
School of General Studies Alfred L.
Goldman to the creative staff of Ruth-
rauff & Ryan Sudler & Hennessey
added the following to their staff: Dr
David A. Bryce, technical consultant: Dr
Alfred Golden, medical director; Joseph

DIRECTOR’S
ART

: J West 44th Street
New York 36

: MUrray Hill 7-3157

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trade talk

McCosker, director of copy; Millar Wat-
son, account exec... . Wordmasters is a
new service to produce public relations
and merchandising materials. Ruth
Ginsberg is principal . . Edward Ben-
guiat Lettering, letterers and designers
of photo-lettering alphabets, has moved
to 415 Lexington Ave., also location of
Shipman Studios. OX 7-3295 .. . PHILA-
DELPHIA: Berman-Steinhardt Studio
moved to larger quarters at 1615-17
Sansom Street .. . Fred de P. Rothermel,
former director of the Phila. Museum
School of Art, joined the art department
of Beaumont, Heller & Sperling in Read-
ing . . . Karl Koek:er, Coopersburg, has
been commissioned to design 130,000
Christmas cards for Better Homes and
Gardens. They are 3-D cutout cards done
entirely by hand except for the printing
He's also designing cards for Newsweek
and Holiday

AGENCIES BOSTON: Daniel F. Sul-
livan Co, has been named
to handle advertising of Bartett Yarn
Mills in Harmony, Me CLEVELAND:
Clifford A. Kroening,. Inc., to 2157 Euclid
Ave Leech Advertising Co. moved
to the Hanna Bldg DALLAS: James
W. Huff Advertising to 514 Gibraltar Life
Bldg DAYTON: W. James Bridges
and Jack C. Sharp have formed a new
agency in the Callahan Bldg
DETROIT: Gille Associates moved to
1044 Maccabees Bldg FORT WORTH:
Jack T. Holmes & Assoc. to larger
quarters in the Continental Life Bldg.
INDIANAPOLIS: Larry Sogard opened
his own agency, L. T. Sogard & Co
NEWARK: Fred M. Reast and R. H. Con-
nolly have formed Reast & Connolly at
126 Clinton Avenue NORTH
CAROLINA: Mitchell WerBell Advertising,
Atlanta, has opened a branch office in
High Point. C. J. Robert Barr will manage
the office NEW YORK: Joseph Ungar,

formerly s.p.m. at American Safety Razor
Corp., opened offices as product pro-
motion consultant at 1 E. 54 St

Compten Advertising will occupy new
quarters, 4 floors in the new building at
261 Madison Avenue David Youner
Associates moved to larger quarters at
292 Madison Ave Esmond Associates
moved to 280 Madison Duncan-Brooks
opened at 137 Willia Ave., in Mineola
President is Donald W. Dragon

Phillip J. Lane Advertising and Geoltfrey
Roberts. Inc... merged to form Allan
Peters-Geoffrey Roberts & Morris, Inc.,
with offices at 312 Fifth Ave Milburn
McCarty Associates has been formed

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trade talk

with offices at 270 Park Ave... . LOS
ANGELES: New advertising agency,
Stromberger LaVene, McKenzie, is at 650
S. Grand Ave. .. . Tolle Co. moved to
3553 Kettner Blvd. (San Tiego)

Modesto Advertising Agency opened a
branch in Stockton at 31 S. San Joaquin
St... . Enterprise Advertising has been
organized by Sander Hayman with
offices at 432 Aliso St... . OKLAHOMA
CITY: Allied Advertising Service opened
in the Municipal Auditorium with prin-
cipals J. D. Mayhew, Mary Chaney and
Judy Calkins .. . PEORIA: Don Heinrich
Advertising to 311 Oak Towers at 926
Main St. . . . PITTSBURGH: Cavanaugh
Morris Advertising has moved to 2994 W
Liberty Ave., Dormont .. . PROVIDENCE
Fuehrer-Williams Co. opened at 29 Laurel
St... . SAN FRANCISCO: Towne-Oller &
Associates moved to 127 Montgomery St
Robert M. Barton & Associates opened
in San Jose .. . WORCESTER: Packard
& Kraft, Inc. industrial advertising
agency, has been formed at 29 Pearl St

ADVERTISING
PROMOTION

S. Charles Norris,
formerly AM of
Charles Bruning
Co., Chicago, has
become AM and SPM with Mergenthaler
Linotype Co., New York. He replaces
Edward F. Dykstra who is now VP. and
AE with Rea, Fuller & Co George
Brenard, formerly radio-TV AE at Hugo
Wagenseil & Assoc. is AM and SPM with
Neon Products, Inc., Lima, Ohio ¥.
Dade Kelly upped to director of sales
Railway Express Agency, New York
E. W. Hull named to new post of director
of advertising and promotion Arthur
John Hocking. named AM and SPM in
US Rubber Co Ed Gaither to Tidy
House Products Co. Shenandoah, Ia., as
assistant to the president handling adver-
tising and sales promotion Robert A.
Raidt from AE at Gardner Advertising to
director of advertising for Bayuk Cigars,
Inc., Philadelphia Fred W. Adams,
formerly AM with Packerd Motor Car Co

is with Kaiser-Willys in the same capac-

ity Mrs. Louise G. Fried upped to
AM at Jane Engel, New York Earl
Littman to AM of Jones & Brown, Pitts-
burg Craig Ward from Kudner

Agency to assistant AM and SPM at CvI-
lins & Aikman Anita
Schnall to director of advertising, pro-
fashion

New York

motion and coordination for

Art Director & Studio News / November 1953

Joseph Love, New York Northwest
| Orient Airlines promoted David H. New-
| ton from SPM to the advertising depar'-

| ment Singer Sewing Machine Co

. advertising
design
@ illustration

@ production

an extraordinary
combination

of
CREATIVE
TALENT
represented by
Jack Kapes

& ASSOCIATES

LOU NULSEN
PHOEBE MOORE
BOB BONFILS

FRED STEFFEN

BILL FLEMING
ARTHUR SIEGEL
ALICE PROVENSEN
MARTIN PROVENSEN
FRED MARTZEN

IM MOSHIER

PHOEBE MOORE 159 east chicago avenue SU perior 7-6006

package design:

the force of visual selling

by Ladislav Sutnar

mentaries the potentialities of package design
for selling a product. — The author, a noted
designer, has included over 500 practical
examples from world-wide sources, from food
packages to luxury items.— $9.75 — publisher:

| Arts Inc. | 667 Madison Ave., NY 21

This book outlines in pictures and brief com-

trade talk

upped Watson M. Hannan from assistant
AM to AM ... R. M. Budd to V.P.-adver-
tising for Campbell Soup Co., Ltd., New
Toronto .. . Jack Herrick to AM of Magna
Engineering Corp., Menlo Park, Calif... .
Fox Head Brewing Co. appointed August
J. Korbel assistant AM .. . Herbert Berg
to director of advertising and publicity
for Pola-Lite Co., New York... GQ L.
McCall to V.P. in charge of advertising
and sales at G. Heilman Brewing Co.
.. Alan C. Olmstead named AM with
G. H. Wood & Co., Toronto . . . Mark Cox
named director of advertising, public rela-
tions and sales promotion of Wilson & Co.,
Chicago. He succeeds retiring Don Smith
Phillip Howlett upped to AM at
Wilson Sporting Goods Co. replacing
Cox ... At Gantner & Mattern Co., San
Francisco, Edith Skemp upped to pro-
motional director and assistant to the
president; succeeding her as AM is
Arnold McClay, formerly of Chicago...
Cruse W. Moss, formerly director of sales
at Kaiser-Frazier is now executive assist-
ant to the vice-president and general
sales mgr. at Kaiser-Willys, Toledo
Robert D. Handley from general mgr.,
Western Packaging Products Co., to di-
rector of advertising and sales promotion,
Standard Packaging Corp., New York
John Fischer named AM and SPM, Von
Schrader Mfg. Co., Racine. He succeeds
Jack Hedrich who is with Hedrich-
Blessing Studio, Chicago Sol Schwade
to AM at Elm Farms Co., Boston Earl
L. Collings, formerly AE, Ross Roy, Inc.,
Chicago, to creative director, Evans &
Associates, Forth Worth Sampson
Co., Chicago, named William A. Costello
advertising and sales promotion director
Jack Sullivan, formerly with Bendix
to SPM, Whirlpool Corp., Chicago
B. W. McLean, formerly AE at McKim
Advertising, to AM, Yardley of London
Ltd., Toronto Frank E. Ford to director
of advertising and sales promotion, The
Roberts Company, Los Angeles
Charles B. Denton. Weston Electrical In-
strument Corp., Newark, upped to market-
ing mgr Jane Goodell, previously
with Donahue & Coe, to AM of Her
Majesty Underwear Co., New York
Electro-Snap Switch Co., Chicago, named
James E. Culea, former AD for Norge, to
AM and SPM Paul D. Barker from
Music Corp. of America to AM at Ameri-
can Extruded Products Co., Los Angeles
Robert E. Davis, formerly with Ken-
yon & Eckhardt, is AM, Imperial Paper
& Color Corp., Glen Falls, N. Y
Thomas Shem from assistant to AM at
Dobeckmun Co., Cleveland E, Mark
Tarplin from AM at Schenley Labora-

Dee RTP RS PUY OF REET

ahd

. ae
et

Art Director & Studio News

fecolewoa. go on

November 1953

The most versatile

Wit ee
Stock Color Files
you've ever seen!|

you've ever seen!

Animals

Children

City Views

Farming

Florals

Girls

Historical

Human Interest

Landscapes

Paintings
(Religious and
Non-Religious)

Sports

MU. 76112

19 WEST 44th STREET, NEW YORK, N. Y.

tories to vice-president at Murray Breese
Associates, Irvington-on-Hudson . . . John
Woolley and John E. Phillips to national
field sales mgr. and AM respectively at
B. T. Babbitt, Inc. . . . Matthew J. Lam-
bert, Jr.. to SPM for Appian Way food
products, Food Specialties, Inc., Plymouth

. M. J. Malcolm to SPM of Canadian
Cottons Ltd., Montreal . Henry L.
Hayden from Y & R to ad brand manager
for Old Gold and Embassy; George Whit-
more promoted to the same post for Kent,
Muriel and other products for P. Lorillard
Co... . Ernest K. Hunt, Calco Chemical
division AM, is now also director of sales
and advertising, Textile Resin Depart-
ment, American Cyanamid Co... . Jeff
Twentyman is now AM for Young's Hat
Stores, N. Y. .. . Edward H. Boese, Jr.a
formerly AD and FM has been elected
a V.P., Jack Lacey Advertising, Tampa

Joseph L. Shiller to advertising and
sales promotion director, Lee Beachwear,
N.Y Ridgway Hughes is now direc-
tor of advertising and promotion, NBC

. Joanne M. Downs now AM with
Marcus Breier Sons, N. Y . John H.

Pugh, formerly with Marketers, Inc., to
AM and public relations mgr., Axelson
Mfg. Co. division of Pressed Steel
Car Co. Inc, Los Angeles

Don H. Smith upped to sales promotion
mgr. for Kaiser-Willys sales division
Norman F. Snedeker. formerly with C. R.
Gibson to AM with D. P. Harris Hdw. &
Mig. Co., N. Y J. Warren Russe!l,
previously with Anchor Distributing Co.,
is now head of the sales staff, Palace
Cabinet Corp., Brooklyn; Alicia D. Bait-
inger is now head of the advertising and
art dept Allan Thurman, former
assistant SPM for Philip Morris & Co., to
SPM with Snow Crop division of Clinton
Foods, N. Y . Sherman T. Ramey,
formerly AM, American Hospital Supply
Corp., is now AM with Timken-Detroit
Axle Co., Detroit F. B. Roper to
director of merchandising and sales pro-
motion, WMPS, Memphis A. E. Kovnat
from Hazel Bishop to SPM, Helen Curt's
Industries, Chicago Charles E. Dar-
went to advertising director for Tru-Ade,
Inc., Elgin, Ill Robert L. Greason to
AM and SPM textile resin department of
American Cyanamid Hirshon-Gar-
field, Inc. named W. D. Howitt adminis-
trative director, Julian Braun director of
media and market research, and Lee B.
Garfield to liaison director of branch ac-
tivities Waterman Pen Co., Inc.
named William R. Mason marketing mgr
James E. Callaway, former AE with
Brown Brothers Advertising, to director of
advertising and sales promotion, Lindsey-
Robinson & Co., Roanoke P. B. Hill-
man, formerly AE, Bernard B. Schnitzer
Advertising, to AM Moore's clothing com-

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Art Director & Studio News / November 1953

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trade talk

pany, San Francisco . . Mitchell W.
Friday from Kiekhaefer Corp. to AM and
assistant sales mgr. with Canvas Prod-
ucts Corp., Wis William R. Jones
to AM with Frito Co., Dallas . Alfred
E. Bourassa, previously with Carter's
Ink Co., is now assistant AM at CBS-
Hytron division CBS, Danvers, Mass
Haven C. Babb to assistant AM of Stand-
ard Pressed Steel Co., Jenkintown, Pa

Roy F. Peters to national sales mgr
of Kinsey Distilling Corp., Philadelphia

Johnnie Marie Jackson appointed ad
director of Home Furniture Co., Dallas..
Harold Johnson named to new post of
product promotion and public relations
mgr., Martin-Senour Paint Co., Chicago
Other changes are: A. C. Furtwangler is
sales mgr., North Central division; J. R.
Degnan is regional director, West Coast
division Caterpillar Tractor Co.,
Peoria named Burt Powell AM and W. K.
Cox head of the sales-promotion depart-
ment... Harold E. Kranz to AM, Mack-
lanburg-Duncan Co., Okla. City ... Amer
Association of Advertising Agencies
elected Earle Ludgin president . LH.
Bartlett has resigned as director of adver-
tising for Eastman Kodak after 40 years
with the company.

CAMPAIGNS New 12-month cam-
paign for De Beers
Consolidated Mines features full color
reproductions of paintings by Brian Con-
nelly, Charles Rain, and Salvador Dali
three ad battles shaping up feature
filter cigarettes, anti-enzyme toothpaste,
and gasoline additives. Liggett & Myers is
bringing out its L&éM Filters. Cunningham
& Walsh is pushing it via network shows
and newspapers... Shell, Cities Service,
Frontier Refining. and Jenney Petroleum
are featuring gasoline additives in their
advertising, with claims and counter-
claims expected to ad power to the ad-
vertising anyway Chlorodent is
Lever Brothers latest entry in the anti-
enzyme field, with a big Fall campaign
Sloane-Delaware Floor Products
using Sunday supplements, magazines
and point of sale material in Fall drive
featuring the “I Love Lucy” home .
Jantzen, swim suits, starts its biggest
ever drive this December, runs till June,
will be all color and will use more out-
door Swank, Inc. getting an early
start on its Christmas advertising . . . an
intensive 3-month drive for Lewyt Vacuum
Cleaners is under way .. . largest ever
drive is set for five Dorothy Gray prod-
ucts, Satura, a skin moistening cream,
and a hand lotion, bubble bath, cream

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sachet, and soap in the Wedgewood line
All via Lennen & Newell .. . first national
ads for H. Koch & Sons, San Francisco,
is breaking now. Promotes Fiberglas lug-
gage via J. J. Weiner Co Chock
Full O’ Nuts, restaurant chain, is pack-
aging coffee for the retail market
Grove Nylon Co., via H. B. Le Quatte,
will be promoting Grove-Dul, a nylon
yarn processed to appear permanently
dull heavy 4th quarter consumer ad
schedule set for Stewart-Warner Corp.
TV models will be shown in scratchboard
technique Broil-Quik launched its
biggest campaign in October in SEP.
Zlowe is agency what may be one
of the biggest brand name shoe cam-
paigns has started for Sundial Shoes,
Manchester, N. H Aldon Rug Mills
pushing its biggest ad drive this Fall in
This Week and Parade supplements
ad campaign will help A. & M. Karagheu-
sian introduce new line of cotton carpet,
Shasta liquor advertising will feature
more decanters than ever before. Most
major distillers (Seagram's excepted)
will follow this trend Dynel, a textile
fiber, being pushed by Union Carbide &
Carbon more co-op food advertising
in the making between Hunt Foods and
the California Lima Bean Board. Via JWT
and Y&R, Los Angeles biggest ad
Gnd merchandising campaign in com-
pany’s history will tie in with Tissot’s
100th anniversary Back-to-school for
B.B.'s new Rol-Rite Pen includes 185
newspaper insertions featuring local
dealers. Hilton & Riggio is the agency,
Maury Nemoy is AD a 25% budget
hike to $10,000,000 will add power to
Whitehall Pharmacal’s push for Anacin,
Kolynos, Bi-So-Dol, Heet, Freezone, Melca-
lose, Sperti, Outhro, Preparation H, Neet
and Hopper Chevrolet, via Campbell-
Ewald, is running in women’s sections of
Sunday papers, featuring style, comfort
and other appeals to women ... Hilite,
new furniture polish, being pushed by
Simoniz Co. via Tatham-Laird, Chicago
light touch features Sheaffer Pen Co.
promotion for its no-dunk pen
Eureka Roto-matic vacuum cleaner get-
ting 13-week drive via Henry M. Hemp-
stead Co., Chicago . new products
that may advertise heavily are Plus, a
disinfectant made by West Disinfecting
Ce., Long Island City, and Sugar Snacks,
new Kellogg cereal . watch for new
product of Arnold Bakers, Inc., Port
Chester, New York. A frozen bread
Chrysler Corp. thinks day of the big, fat
car is gone. Public wants a slim car that
looks and is easy to maneuver .. . CBS-
Columbia, Inc. is putting over a million
dollars into magazines, newspapers, etc.,
to promote radio and TV receivers...

Art Director & Studio News / November 1953

We know she’s
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trade talk

Ansco is using syndicated Sunday sup-
plements on a national scale to promote
its Christmas sales.

PHOTOGRAPHY Eastman Kodak

uses the second
largest amount of silver in the U.S. Only
the U.S. Mint uses more! .. . Joseph
Bottwin has moved his studio to 35 E.
28th Street, N. Y. .. . Eastman Kodak has
huge pictures of Hiliary and his climbers
on Mount Everest, displayed in Grand
Central. Ayaz S, Peerbhoy of Bombay's
J. Walter Thompson (they do Eastman’s
Ads) brought to New York's J.W.T. pic-
tures he took of the returning climbers.
These will be on exhibition in the near
future . . . Ansco’s new ad campaign
will feature some of the work of out-
standing photographers. In each adver-
tisement a photograph will be used from
“Ansco Gallery of Outstanding Portraits”
.. . Ethicon has a new booklet “Ethicon
Infirmary,” with kittens and dogs photo-
graphed by Walter Chandoha and catchy
captions.

PRODUCTION John H. Benson, form-

erly with Caples Co.,
is now PM with Bozell & Jacobs, Chicago
. . . Mastercraft Litho and Printing Co. to
214 Sullivan St. N. YY... . Beck Engrav-
ing Company elected Edward T. Scow-.
croft V.P. in charge of Philadelphia
photoengraving division . . . Ed Brodie,
PM, has joined McCullouch Doyle Mc-
Gowan Studios, Detroit, which just cele-
brated its first anniversary ... Al Gerson
to Morey, Humm & Johnstone as PM of
the fashion division . . . Matthew T. Bir-
mingham, former assistant production
director, has been upped to production
director of Street & Smith Publications,
Inc., New York . . . Ruleffe F. Barbour,
formerly with Coleman Press, is now
production manager with The Reingold
Co., Boston.

MEDIA = Quick, Triangle's biweekly,
is out without ads. Adver-
tising department may be set up in
several months . . . Mechanics Today,
published by Pyramid, New York, bowed
this month with 500,000 copies. First issue
had 77 pages of advertising
Municipal South will come out in Janu-
ary. Monthly will go to city officials and
department heads in Southern cities

Clarke-Smith Publishing Company, Char-
lotte, N. C. is publisher . . . Tempo added
Marvin Albert as a department editor
and Jack Hetherington joined the art de-
partment . . . Technician magazine, for
TV and electronic appliance service field,
bowed this month. Publisher is Caldwell-
Clements, Inc., New York . . . New, which
started in October, covers the field of new
inventions of interest to manufacturers.
New Ideas American, Philadelphia, is
publisher The Contractor is due
January 1. Semi-monthly for plumbing,
heating and air-conditioning industry is
published by Walther Publishing Asso-
ciates, New York . . . Automotive Service
Digest is switching to pocket size in
January .. . Power Equipment increases
to king-size (11 x 1134 inches) in Janu-
ary .. . Industrial Science and Engineer-
ing a bi-monthly student edition of In-
dustrial Laboratories, will bow in Janu-
ary. Publishers are Industrial Labora-
tories Publishing Co., Chicago... A
new annual on the improvement of office
surroundings, The Integrated Office, be-
gan this month; Jerome W. Harris is
publisher (New York).

TYPOGRAPHY Will Burtin spoke at

the opening meet-
ing of the Society of Typographic Arts in

October. He is a free-lance designer and
consultant on advertising, industrial and
editorial projects, and a pioneer in “visu-
alization” .. . New York Type Directors
Club is now holding its luncheons in
private dining room at Hotel Roger Smith,
Lexington & 47th Street, Tuesdays.
Speakers program is being planned by
Emil Klumpp.

EXHIBITIONS Associated American
Artists Galleries: Nov.

2-14, Lewitt-Him, English design team;
Nov. 16-Dec. 5, Sigmund Menkes, Oils;
Nov. 2l-Dec. 4, group show; Dec. 7-24,
Andre Segovia, oils . Butler Galleries:
Thru Nov. 15, group show by members
of Catherine Lorillard Wolfe Art Club,
New York Moore Institute of Art
Science and Industry: November, Furni-
ture, Costume and Textiles, Smithsonian
Institution traveling exhibition, 59 water-
colors . . . Museum of Modern Art: Thru
Nov. 22, Architecture for the State De-
partment; Thru Nov. 15, Jacques Villon,
graphic work; Thru Dec. 27, Children’s
Toys; Thru Jan. 3, Leger—100 paintings;
Thru Nov. 29, Good Design; Nov. 18-Jan.
17, New Talent, wo?k by artists who have
not had one man shows in New York yet
. Nov. 18, a lecture on Leger by James
Johnson Sweeney Nov. 25-Jan.24,

JUST OUT!

GET YOUR COPY!

- a ee ee ee me

UNDERWOOD & UNDERWOOD

| 319 East 44 Street 646 North Michigan Ave.
| New York 17,N.Y. Chicago 11, Illinois
| Gentlemen:
Please send me a copy of your new catalog,
l “Underwood Reserve Illustrations, Ninth Edition,”
| showing a representative sampling from among
| thousands of new stock photographs now available.
| enclose $1.00 to cover cost.

November 1953

Art Director & Studio News /

for that
Digan
JOD

Oiges

OFFSET CO. /NC.

37 WEST

Junior Council Print Exhibition.

TELEVISION Frank Barton, manager
of the radio and TV

dept. of Lennen & Newell, to vice-presi-
dent. Other appointments were: Tony Pan
to director of commercial production for
radio and TV, Theodore Huston to TV
producer, Fred Kilian to program devel-
opment .. . William Gibbs joined Fuller
& Smith & Ross, New York, as assistant
production supervisor for TV films .. .
Donald LeRoy to Raytheon Mfg. Co. as
AM in the TV and radio dept... . Paul
Allen is advertising coordinator of the
division at Raytheon . . . Westinghouse
named Allen N. White SPM of the TV-
radio division . . . Larry Barrett and Les
Davis organized a new Seattle agency,
Te-Vee Films at 2213!/, Queen Anne Ave.
Ridgeway Hughes, formerly SPM for
radio and TV at NBC, is now advertising
and promotion director at the NBC Radio
Network . Television Programs of
America, TV film firm in New York, has
been formed at 729 Seventh Ave... .
David E. Durston is TV and radio director
at Lynn Baker, Inc., N. Y. . George
Wolf from Foote, Cone & Pelding to
Geyer Advertising, Inc., as director of
radio-TV . RB. V. P. Pollock added to
radio and TV creative staff of D. P.
Brother & Co., Detroit... L. T. Steele,
V.P. .at Benton & Bowles, named exec.
head of all TV and radio activities of the
agency Russell Ford and Ed Gray to
the TV dept. of MacManus, John &
Adams, Inc H. DeLeon Kahn to
exec. radio and TV director of Jack M.

Reis Advertising, Cincinnati .. . Princess
Pictures is making feature movies for
TV Kling Studios is producing 52

kitchen shows for TV featuring the cook-
ing of whole meals and using all elec-
trical kitchen appliances

PERSONALS Bob Watkins of Charles
E. Cooper has a new
little girl, his third. Her name is Heidi
Lark John Marin died after a long
illness. Mr. Marin has been considered
America’s number one master of water-
color painting Norman D. Rothman,
chief of the United Nations printing divi-
sion, died suddenly at Bellevue Hospital
last month. Mr. Rothman was a writer
and lecturer on typography .. . Irving
Goldfine, vice-president of the Scientific
Engraving Company, died of a heart
attack at his home in Queens Leslie
L. Forgrave of Blue Valley Farm, Pa.,
cartoonist and creator of Big Sister comic
strip, died after a long illness Dr.
Joseph Sigall, portrait painter of many

great men, passed away. His home was

in Oklahoma City

SHOWCARD

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CASEIN PAINTING PANELS. Canvas panels
sized for use in casein, gauche, drawing
inks and any water soluble media may
be had in sizes from 8” x 10” to 18”
x 24”. Arthur Brown & Bros., 2 West
46th Street, New York 36.

COLOR CONTROL EXPOSURE METER. Norwood
Director Exposure Meter with added
inserter for “Color-matic” control op-
erates on the incident light reading
principle. Can be used in 3D or b&w,
still and movie. In shooting color it is
only necessary to note the “f” stop
and shoot. Meters are carried by camera
stores. Director Products Corp., 570
Fifth Ave. will supply information
about the new model and explain how
the regular Norwood meters may be
converted to include this new feature.

TOOL CATALOG. Complete listing of all
new items in the X-acto line of tools,
craft sets and Indiancrafts. 28-page
catalog is available free to dealers;
costs 20c to others. X-acto Crescent
Products Co., 440 Fourth Avenue, New
York 16.

ECONOMY SIZE DEVELOPER. Ansco is pro-
ducing its Finex-L Developer and Re-
plenisher in 50 gallon rubber drums.
For additional information write Ansco
News Bureau, 175 Clinton Street, Bing-
hamton, New York, or contact an
Ansco representative.

PRINT FOLDERS. Illustrated folders have
been issued by The Bettmann Archive,
New York picture research outfit. In-
cluded is an index of 2,000 picture
groups from “Anesthesia to Zodiak”
available to advertising artists from
215 E. 57th Street, New York 22.

TYPE BOOKLET. From Agency Gothic to
Zepplin—a complete, illustrated listing
of all types available at Philmac
Typographers, 318 W. 39th Street, New
York 18.

LEICA CATALOG. Leica’s complete equip-
ment listed, described and priced in
booklet form from E. Leitz, Inc., 468
Fourth Ave., New York 16,

PRINT SHOP HELPS, booklet No. 2 of the
Lindenmeyr Library, deals with factors
to consider in choosing and ordering
paper. Detailed instruction and guides
are illustrated by case histories. Copies
may be obtained from Henry Linden-
meyr & Sons, 480 Canal Street, New
York 13.

Art Director & Studio News / November 1953

What will me give them?

Why, Art Director & Studio News, of course

a throughout-the-year 12-time package of cheer plus art
news and views . . . twelve visual packages of AD activities
and accomplishments and specially prepared features . .

and the big annual Buyer’s Guide issue, all for $2.00 2 year

($3.50 for two years).

Send in the coupon right away and we’ll send a gift card
for you right before Christmas.

ART DIRECTOR & STUDIO NEWS 43 E. 49th ST., NEW YORK 17

Please send Christmas gift cards and subscriptions to:

NAME

STREET AND NUMBER

CITY, ZONE, STATE

NAME

STREET AND NUMBER

CITY, ZONE, STATE

NAME

STREET AND NUMBER

CITY, ZONE, STATE

Gift from,

ADDRESS

While you’re at it, renew my subscription too.

Enclosed check or money order for $.........

The making of
fine color engravings
daily reminds us of the
saying of Michelangelo:
“Trifles make perfection...
and perfection
is no trifle.’

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AMe 2

Are you looking for a fresh
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are you in need of sparkling,
creative illustrations to enhance
your ads? If so, you will find
complete satisfaction in using
our staff of experienced artists.

PACE STUDIOS
155 £. OHIO ST., CHICAGO
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book notes

GRAPHIS ANNUAL, 53/54. Edited by Walter
Herdeg and Charles Rosner. Farrar, Straus &
Young. $12.50.

New edition of the annual of inter-
national advertising art features 734
examples from 21 different countries.
Material is grouped in six sections,
posters; magazine and newspaper ad-
vertisements; booklets, catalogs, menus,
invitations and programs; magazine
and record album covers, house organs,
book jackets; packaging, calendars,
greeting cards; animated advertise-
ments, letterheads, trademarks, tele-
vision title slides and commercials.

A real source of inspiration, it pre-
sents the American art director with
a cross-section view of graphic design
the world over.

REMBRANDTS WITHIN REMBRANDTS. James
Plesch. British Book Center. $6.50.

Author, a medical professor, explains
his discovery of “subordinate figures”
in Rembrandt’s paintings. These fig-
ures are found on close examination
within segments of a painting and,
according to Plesch, these secret fan-
tasy creations are the mystery of Rem-
brandt’s paintings. He illustrates these
hidden shapes in specific paintings in a
fold of a robe or the upside down
beard or a segment of background.

THE TASTE OF OUR TIME. Skira Inc. $4.95.

First three titles of the series of art
books are Gaugin, Van Gogh and Tou-
louse-Lautrec, with texts by Charles
Estienne, C. H. Sibert and Charles
Estienne, and Jacques Lassaigne re-
spectively.

The purpose of the series, of which
5 or 6 books a year will be forthcom-
ing, is to reflect art tastes of the pres-
ent and compare with past trends. Each
artist is presented in such a way as to
find “keys” to our preferences.

Each volume contains 52 to 60 color
reproductions of the artist’s work.

WHY DO PEOPLE BUY? By the editors of
Fortune. McGraw-Hill. $3.50.

Based on a series of articles that ap-
peared in Fortune magazine, material
deals with the “why” of advertising.
Typical chapters are, “Why Do People
Buy?,” “Who Pays List Price?”, “Strat-
egy of the Seller”, “The Language of
Advertising”.

IN CHICAGO

Eddie Augustiny
SF 1h Olar-Talcela)
Bill Baker

ad -talem =ilelalel|
Jim Baker
Lucia

Richard Kenyon
Dan Toigo

SIT Mat Tarer-11
Arnie Kohn
PNaleh malieialel “4:

Jack Grant

e e n S William Swatkoski
Tony Markese
George Horndasch
John Heppes
Gene Douglas

Marian Mazur
Beverly Johnson

contact
Frank De Cicco
Vince Salerno

. 7 Al Getz
| 0 n Richard Damisch

IN NEW YORK

ia-tel lao c-le-lek gd
Geoffrey Biggs
Miiton Wolsky
Stan Edman
John Floherty, Jr.
e Earl Cordrey

Ben Hur Baz

1) @ C | ts C 0 George Mayers
Ken Riley

Tran Mawicke

sTeleMaliiel-1a%

Roswell Keller

eT -Telg-s- me Tal iielee)

Don Neiser

Mike Ludiow

Harvey Kidder

contact

Barry Stephens
Albert Sirianni
John Dinan
Glen Cross

Congratulations to the Art Directors Club of
Chicago, on the opening of their 21st Annual
exhibition of Advertising and Editorial Art.

Stephens Biondi De Cicco ADVERTISING AND EDITORIAL ART

IN NEW YORK BARRY STEPHENS STUDIO 120 West 50th Street, New York 19, N. Y. CIRCLE 5-5471

101

Art Director & Studio News / November 1953

thanks! to the typographers and artists all over America for
the complete and wholehearted acceptance of

VENUS EXTENDED
GROTESK

Since the introduction of Venus only a short
time ago, this great new type has had over-
whelming approval by those who demand
the best in composition.

Immediately Available in

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Venus Light Extended

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For complete information and specimens see your nearest Bauer type

dealer or write on your letterhead to

BAU CR woissers inc

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GAYPOS

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book notes

GRAPHIS 47. K. Heitz.

Victor Trasoff, AD for William Doug-
las McAdams, shows 73 internationally
selected examples of pharmaceutical
advertising in current issue of Graphis.
Other feature articles review post-war
Czecho-Slovak ad art, old _ pictorial
Czecho-Slovak peasant art, the work
of British designer Abram Games and
The House Organ and Public Relations.

THE PAPER MAKER, Vol. 22, No. 2. Hercules
Powder Co.

A collector’s item number, this edition
of a house magazine contains articles
on how marbled papers are made (with
beautiful hand tipped swatches), the
history of papermaking in England,
the first paper mill in New York, and
how Peter the Great learned about
papermaking in Holland.

PACKAGE DESIGN, Ladislav Sutnar. Arts Inc.
$9.75.

Increased emphasis on _ point-of-pur-
chase advertising and TV’s opportuni-
ties for display are causing many
manufacturers to consider redesigning
their packages. Mr. Sutnar’s book is
especially timely and valuable. It is
essentially a picture book concerned
with the package as a force in visual
selling. More than 500 illustrations
show what is new in packaging and
how new visual forms are meeting new
sales challenges.

COLOR IN DECORATION AND DESIGN, Fred-
erick M. Crewdson. Frederick J. Drake & Co.
$3.00.

Covers the basic principles of color
including color psychology, colorist’s
vocabulary, color theory, and how we
see color. There are chapters on addi-
tive and subtractive mixture, perma-
nence, color standardization systems,
harmony and contrast, effects of illu-
mination, electromagnetic spectrum,
and the use of color in home decora-
tion, commerce, and industry. Includes
15 pages of color mixing formulae.

THE FEMALE FORM IN PAINTING. Jean Cassou
and Geoffrey Grigson. Harcourt Brace & Co.
$4.95.

Sixty-four photogravure and three full
color plates. Traces evolution of role
of nudes in painting from ancient
Greece to the present. Examines the
significance, both to the artist and
society, of moral and emotional reac-
tions to the female form in art.

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Art

(Cont'd from p. 5)
Editorial

Christmas gift buying season, but which
instead stresses their product’s decora-
tive qualities.

These are a few examples of how
some manufacturers, already in the
buyer’s market, are developing their ad-
vertising. It’s nothing like the hard sell
predicted. If anything, it’s underselling.
But more than that, it’s creative.
Periodicals today, far from being laden
with a mass of monotonous shrill hard
sell ads, are displaying a range of in-
ventiveness speaking very well for the
art professional. This is not to say that
heavy, type ads will never inundate us.
They may. But it hardly seems likely
with the talent projecting from the ad
pages of magazines this Fall.

LEGAL NOTICE

Statement required by the Act of August 24,
1912, as amended by the Acts of March 3, 1933

nd July 2, 1946 (Title 39, United States Code,
Section 233) showing the ownership, manage-
ment and circulation of Art Director & Studio
News, published at New York, N. Y., for Octo-
ber 1, 1952.

1. The names and addresses of the publisher,
editor, managing editor and business managers
are: Publisher, Art Director & Studio News:
Editor, Edward Gottschall; Business Manager,
Don Barron, all of 43 E. 49th St., New York 17,
N. Y.

2. The owner is: (If owned by a corporation
its names and addresses must he stated and also
immediately thereunder the names and addresses
of stockholders owning or holding 1 percent or
more of the total amount of stock. If not owned

by a corporation, the names and addresses of
the individual owners must be given, If owned
by a partnership or other unincorporated firm,

its name and address as well as that of each
individual member, must be given.) Art Director
& Studio News, Don Barron, both of 43 E.

19th St., New York 17, N. Y.

3. The known bondholders, mortgagees, and
other security holders owning -eor holding 1
percent or more of the total amount of bonds,
mortgages, or other securities are: None.

4. Paragraphs 2 and 3 include, in cases
where the stockholder or security holder ap-
pears upon the books of the company as trustee
or in any other fiduciary relation, the name of
the person or corporation for whom such trustee
is acting; also the statements in the two para-
graphs must show the affiant’s full knowledge
and belief as to the circumstances and condi-
tions under which stockholders and_ security
holders who do not appear upon the books of
the company as trustees, hold stock and securi-
ties in a capacity other than that of a bona fide
owner.

5. The average number of copies of each issue
of this publication sold or distributed, through
the mails or otherwise, to paid subscribers dur-
ing the 12 months preceding the date shown
above was: (This information is required from
daily, weekly, semi-weekly and tri-weekly news-

papers only.)
DON BARRON

Sworn to and subscribed before me this 4th
day of September 1953.
[SEAL] ABRAHAM ROSENBERG
Notary Public
(My commission expires March 30, 1954)

for TV w

Il/done...

Telops

TV slides
Enlargements
Photo backdrops
R. P. slides

Your art work deserves the best photographic process-
ing for TV. Our 41 years of photographic work for

Animatic films
35 mm. strip films
Credit crawls

Complete
specifications
for every station.

the movie industry and advertising agencies make it
easy for us to solve the tough problems of Television.

NATIONAL STUDIOS

145 West 45th St., New York 36, N. Y.
Phone: JUdson 2-1926 for detailed information

STATS MADE YOUR WAY

We get along fine with most Art Directors; probably because we

leave the art directing to them and stick to our own specialty

where they are concerned. We make stats for Art Directors their

way, which many of them tell us is most comforting, particularly

when there just isn't time for talking the stat-maker out of doing

it his way. So whether you are looking for tones as subtle as the

tread of a mouse, or contrasts that thunder like a congressman in

travail—in short, for stats precisely suited to whatever result you

are seeking including peace for your ulcer—turn to

WILLIAMS & MEYER CO.

CHICAGO 1], ILL.

FOR FAST
MESSENGER RAn 6-1920 FOR “SAME DAY”
SERVICE .. . MAIL SERVICE

Change of Address. Please send an address
stencil impression from a recent issue.
Address changes can be made only if we
have your old, as well as your new address.
Art Director & Studio News, Circulation
office, 43 E. 49th St., NYC 17.

FARM ANIMALS
in SCRATCHBOARD

One or Two Color

Write for beautiful
illustrated folder.

7265 No. 36, Omaha, Nebr.

Art Director & Studio News / November 1953

PASTE-UP FACSIMILE HAND

- Lettering

CATALOGUES - COMPLETE STOCKS - PROMPT DELIVERY
NEARNORTH GUILD

56 E. Chicago Ave*DElaware 7-2668 «Chicago 11, Illinois

103

ART DIRECTOR & STUDIO NEWS

bookshelf

The AD&SN bookshelf makes it easy

for readers

to buy, at list price, the best books of current interest
to the art professional and advertising manager.

ANNUALS

2. Graphis Annual of international Advertising

Art. Edited by Walter Herdeg and Charles
Rosner. 753 fully captioned illustrations of the
best in poster, magazine, newspaper, and direct
advertising, as well as book jackets, album
covers, trademarks, letterheads, packaging, cal-
endors, Christmas cards and television. $12.50.

45. Penrose Annual 1953, edited by R. B.

Fishenden. A review of what's new in the
Graphic Arts, general, technical articles, docu-
ments, illustrations in color. Fine reference
piece. $8.50.

5. International Poster Annual—1952. Edited

by W. H. Aliner. Illustrates hundreds of
carefully selected examples of the year’s out-
standing poster art from 25 different countries.
180 pages. $10.00.

28. 31st Annual of Advertising and Editorial

Art. Published for the Art Directors Club
of New York. Just published. A record of the
best in American ad and editorial art and of
ay trends. A valuable visual swipe file.
10.00.

37. U. S. Camera Annual, 1953. Edited by
Tom Maloney. A collection of outstanding

photographs from all over the world repre-

senting every phase of photography. $6.95.

41. Modern Publicity, edited by Frank A. Mer-

cer. An international annual of advertising
art with 600 illustrations from 27 countries. A
visual survey of international ad art cross-
currents. $8.50.

TYPOGRAPHY, LETTERING

39. How to Recognize Typefaces, R. Randolph
Karch. Shows key characters of more than
1400 currently used type styles, arranged in
order of their likeness. Includes data—on type
classification, families, fonts, color. $6.00.

43. An illustrated History of Writing and Let-
tering, Jan Tschichold. Illustrations of writ-
ing from Egyptian, Grecian, Roman civilizations
through the middle ages down to the present.
History of book-press lettering traced. $4.00.

49. Pen and Graver. Alphabets and pages of
calligraphy by Hermann Zapf. A fine ex-
ample of a revived art. $8.50.

59. The Studio Book of Alphabets. 67 complete

specimen alphabets, some type, some hand
drawn, covering a wide range of styles. Foun-
dries noted. $2.00.

66. The Chancery Cursive. An unabridged

facsimile edition of the writing books of
Arrighi, Tagliente and Palatino, great 16th
century calligraphers. Introduction by Oscar
Ogg. Bibliography by A. F. Johnson. Plates
were reproduced from the original books in
the Newbury Library. $3.95.

104

19. 750 Designs, Borders, Backgrounds, Tints

and Patterns, H. B. Coffin. All illustrations
can be cut out or copied without permission.
$4.50.

20. Idea File, H. B. Coffin. Shows wide variety
of basic practical layouts for folders,
pamphlets, self-mailers, etc. $1.50.

50. 5000 Helpful Pictures of architecture,
beasts, birds, flowers, fowl, fish, costumes,

inventions, tools, weapons, musical instruments,

and vehicles, foreign and familiar, present and

past. $3.00.

51. 3000 Pictures of Animals, Reptiles, Fishes

and Marine Life. Photographs, prints, and
drawings of hundreds of species. $3.00

52. 3000 Pictures, grouped according to classi-

fication from Agriculture to Zoology. In-

diagrams and dictionary style legends.
.00.

53. 3000 Photos and Drawings of Birds. $3.00.

60. Picture Encyclopedia. 164 pages, 24,000
illustrations, mostly line drawings, wide

variety of subjects, legends. $15.00.

TELEVISION
31. ee for TV, Robert J. Wade. Text
plus 200 illustrations tell TV artist about

seanic design, art direction, title and graphics,
tuming, preparing for production,
commercials, story-boards, and staging. $8.50.

57. The Handbook of TV and Film Technique,

by Charles W. Curran. A non-technical
guide on film production costs, methods, and
processes for executives and lay readers. Includes
standards for programs and commercials, charts,
diagrams and a glossary of motion picture
nomenclature. $3.00.

WINDOW DISPLAY, PACKAGING

24. The Art of Window > ~~ Gaba.
Well illustrated primer on to design
windows that sell. $5.00.

58. The Drama of Display, visual merchandis.

ing and its techniques, by Jim Buckley.
Begins with simple, elementary designs and how
they apply to the display of merchandise and
includes an analysis of its mechanics, methods
and techniques. Many illustrations supported by
legends. $10.00.

67. Package Design. Ladislav Sutnar. 545

illustrations with brief running commen-
tary. Emphasizes the force of visual selling, the
marketing appeal of the soundly designed
package. $9.75.

27. New Techniques in Practical Art for Re-

production, Jean Borges Mayfield. About
using Bourges sheets, black-and-white retouch-
ing, pre-separated art, transparency correcting.
$7.50.

54. The Science of Colcr, prepared by the

Committee on Colorimetry of the Optical
Society of America. Traces the use of color by
prehistoric man, through the Roman civilization.
Technical and theoretical accounts of color,
includes 25 color pages, diagrams and graphs.
Excellent reference for students and profes-
sionals. $7.00.

55. Loren Maclver and |. Rice Pereira, by John

1. H. Baur. Biographical and critical study
of two leading American women painters. Many
reproductions of paintings by both, in color,
half tones, and line cuts. $3.00.

56. African Folktales and Sculpture by Paul

Radin. Collection of African myths and
folktales with over 160 photos of examples of
the plastic art of the African cultures. Glossary
of unfamiliar terms, index of tribal sources.
$8.50.

63. Manual of Historic Ornament by Richard

Glazier. Illustrates the evolution, tradition
and development of architecture and the applied
arts. For students and craftsmen. $3.50.

64. Artin the Ice Age by Johannes Maringer

and Hans-George Bandi. Demonstrates pre-
historic man’s mastery of color, design and form
in his artistic expression. Profusely illustrated
with color, b. & w. gravure, and line drawings.
$12.50.

65. Vatican Art by Karl Ipser. 160 illustrations
of painting and sculpture of the Vatican.
Explanatory captions. $7.50.

COPYFITTING

42. Streamlined Copy-fitting, by Arthur B. Lee.

58-page manual has character count for
more than 1350 faces, including caps and small
caps. All necessary scales on one master gauge.
$4.95.

ART DIRECTOR & STUDIO NEWS
43 E. 49th Street, New York 17, N. Y.

2 5
50 51

York City delivery.
NAME & FIRM

Amt. Encl. $

Please send me, postpaid, the books corresponding to numbers circled below.
19 20 24 27 28 31
52 53 54 55 56 57 58 59 60 63 64 65 66 67

11/53 All orders shipped postpaid. No C.O.D.’s. Add 3%, sales tax with orders for New

37 39 41 42 43 45 49

ADDRESS

city

ZONE STATE

—=— Fi maa os FF

Ss BESTS
in the 32nd Annual
exhibition

of the New York
Art Directors Club

ss BESTS
in the past 10
annual exhibitions
of the New York

Art Directors Club

Art Director & Studio News / November 1953

In the past 12 months

we have designed and
produced art for

1562 advertisements
1096 =ailing pieces
S82 point-of-sale pieces

LESTER ROSSIN

ASSOCIATES INC
369 Lexington Ave., New York 17
MUrray Hill 3-9729

More important than
our renown for
DISTINCTION
we prize our
reputation for

DEPENDABILITY

a completely
integrated staff:

illustrators
BURRIS
BLOSSOM
BRAZELTON
CACCIOLA
COLE
DAUBER
FERNIE
GABY
HANKE
KIDD
KOVARSKY
MacMINIGAL
D. STONE MARTIN
Vv. MARTIN
J. MEOLA
MUTZ
PEREIDA
PORTER
PROHASKA
SCHWINN
SMITH
TAPPER
WEISGARD
WHEATLEY
WILLARD
WINZENREID

designers
CHAP
KAMENS
POWERS
WOOLHISER

letterers
LAPIDUS
NERNOFF
SILVERMAN

retouchers

flexichrome

color toning

dye transfers
*FORINO
FREITAG

mechanical
BRODSKY
*RAYMOND
ROSS
SCHITTONE
SCHMIDT
WERNER
YACONIELLO

production
traffic
HAAS
*PEARSONS
STUBBS
WINNE

contact
BOTTARI
FERRU2ZZ!
NABSTEDT
ROSSIN

“group supervisors

Clamps as it cuts!

The new
Gestetner
trimmer

First real advance in paper trimmers in
70 years! Holds the paper firmly, auto-
matically... and cuts on a straight line!
Takes up to 25 sheets of 14”x18” paper.
Entirely safe to use—the blade cannot
drop. For details, and name of your near-
est dealer, write Gestetner Duplicator
Corp., Dept. 12, 50 McLean Ave.,
Yonkers 5, N. Y.

Geilelnier-

Makers of the new Gestetner 260
Duplicator . . . with
Continumatic Inking

PARTS AND SERVICE FROM COAST TO COAST

frank bowling

agency

MU 7.3307
| 3Y APPOINTMENT ONLY

| 299 MADISON AVE.,NEW YORK 17 oS"

80 Madison Ave.

MU 3-0545
illustrative & product
photography

ready reference

to have your firm listed call PLaza 9-7722

ART BOOKS

Bookshop of James J. Kane

Art Books—Fine & lied—Out-of-Print
We Buy, Sell, Rent & Trade
135 E. 34th St., N. Y. LE 3-4539

ART SERVICES

Peter George Art Service Inc.

4 color separations from art & transparencies;
4 color buildups in Kemart from B&W art and

photos.
832 2nd Ave. (44-45 Sts.) MU 4-2124

COLOR PHOTO SERVICES

Kurshan & Lang Color Service

24 Hour Custom Ektachrome processing
Duplicating & Dye Transfer Prints

10 E. 46th St., N. Y. 17 MU 7-2595

Modernage
319 East 44th Street, New York, N. Y.
Complete Custom Photo Service for professional
photographers, magazines and industry

* Developing, printing

* Airbrushing, retouching
* Studio Available

If you have a problem
Call Ralph Baum

HISTORICAL PRINTS

The Bettmann Archive

Old time illustrations on any subject. Events,
industries, Fashion, Decors. Ask for folder 6A.
215 E. 57th St., N. Y. 22 PL 8-036

PHOTO RETOUCHING
Peter Buckley

Transparency retouching, montages,
silhouetting, color correcting.
157 East 48th St., N. Y. 16

Davis * Ganes

Color Correction and Retouching of
Transparencies, Dye Transfers & Carbros.
Flexichrome Coloring
516 5th Ave., N. Y. 18 MUrray Hill 7-6537
Frank Van Steen

Quality Flexichromes
370 Lexington Ave., N. Y. 17

SERVICES
Way's Standard Viewers

For viewing color in transparencies correctly
William P. Way
Chappaqua, N. Y.

SILK SCREEN PROCESS
Jaysee Display Advertising, Inc.

Quality reproduction. Posters and displays.
12 E. 12th St., N. Y. 3 OR 5-7280

LExington 2-4052

PL 9-7842

LE 26515

Masta Displays Inc.

20 years leadership in silk screened
posters and displays

230 W. 17th St., N.Y.C.

TYPOGRAPHY

The Composing Room, Inc.

a poe
130 W. 46 St., N. Y.

Kline Linotyping Co., Inc.

Proofs or Type for the Artist, Printer

or Agency
146 W. 3% St. H. ¥. 1 CHelsea 3-3610

CH 2-3717

LUxemburg 2-0100

classified
call Plaza 9-7722

3 KEY DESIGNERS for new NON-COMMER-
CIAL TELEVISION experiment: (1) TYPOG-
RAPHER and exhibition designer; (2) TV
graphic ARTIST and illustrator; (3) SCENE
DESIGNER (must know period interiors). All
positions are supervisory and require ad-
vanced design concepts. Salaries modest, but
real opportunity for individual and collabora-
tive creative enterprise. Box no. 1000.

DESK SPACE for artist or salesman. Grand
Central area. Reasonable. Air Conditioned.
Plaza 9-2296, Wills.

LAYOUT ARTIST WANTED for booklets,
folders, catalogs, etc. Must have fresh,
modern, up-to-the-minute layout technique.
A really exceptional opportunity with an ex-
cellent future for the right man. State salary
expected, age and experience. S. M. Crossett,
507 First Federal Bidg., Rochester «, N.Y.

TOP NOTCH LAYOUT MAN WANTED with
5 years studio experience or equivalent. For
details write or send samples to Pitt Studics,
914 Keith Bldg., Cleveland 15, Ohio.

Personnel Consultant
tu Advertising and the Graphic cArts

DOUG SMITH, INC.

A complete placement service
of Ad men, for Ad men... by an Ad man
who has worked in all the jobs himself
for over 20 years

333 NORTH MICHIGAN AVENUE - CHICAGO
FRanklin 2-3280

NEW ADDRESS

shark of Krys Ine

125 WEST 45™ STREET

COLUMBUS 5-6441.2

NEW YORK 36, NY.

—

Art

CRAFIONE-vou win:

adhesive-backed, thin®jauge, matt-finish acetate for better, cleaner NON-GLARE

reproduction. Perfect for Quick-shading artwork for newspaper reproduction, direct
mail pieces, posters, maps, graphs, technical drawings, silk-screen process work.
| Standard (black) . . . and reVerse patterns (white). Just strip it on... burnish it
® down ...and you see striking effects in art... right at the start! FREE Craf-Tone

& pattern chart available at ygur Craftint dealer, or write direct.

| ~ * CRAFIYPE) - you WIN!

. P * Alphabets . . ..Numerals .. . Symbols. . . in all popular styles and type sizes! On

* @ «© tgansporert, self-adhering sheets. Just place... burnish down... that’s all! For
smash headlines, for curving type, for every conceivable use and effect. Eliminates

® expensive fypesetting and artwork lettering! Speeds copy preparation . . . saves

S money for artists, designers, draftsmen, map and chart makers, layout and pro-
duction men! On matt-finish transparent sheets for better, cleaner, NON-GLARE

reproduction! FREE pditern chart at your Craftint dealer, or write direct.

raTtin OT
un \\ Ij py /

THE CRAFTINT MANUFACTURING CO. Mf \ i// \“ M H//

HH] M) /

Art Director & Studio News / Novernber 1953 107

* why they gave Mary
the business! p.2

* 7 day wonder! p.6

* Kinsey Revolutionizes _
boy-girl art! p.8 :

Mary Mayo's Texaco Kid
on billboard charms Te
Prexy; frames comp.

FREDMAN-CHAITE STUDIOS, INC.
62 West 47th Street
New York 56, 3. Y. Plaza 7-S151

Mr. Carl Weiss, Research Director:
Freuman-Chaite

a tirsti

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